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EARLY  CHINESE 
POTTERY  AND  SCULPTURE 


THE  METROPOLITAN  MUSEUM 
OF  ART 


CATALOGUE  OF 
AN 

EXHIBITION  OF  EARLY  CHINESE 
POTTERY  AND  SCULPTURE 

BY 

S.  C.  BOSCH  REITZ 

CURATOR  OF  THE  DEPARTMENT 
OF  FAR  EASTERN  ART 


NEW  YORK 
MCMXVI 


COPYRIGHT,  1916,  BY 


THE  METROPOLITAN  MUSEUM  OF  ART 


The  cost  of  publishing  this  catalogue  has 
been  largely  met  by  private  subscription 
among  friends  of  the  Museum  whose 
names  are  withheld  at  their  request. 


Digitized  by  the  Internet  Archive 
in  2019  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/catalogueofexhibOOmetr 


LIST  OF  LENDERS 


Smithsonian  Institution 

(Charles  L.  Freer  Collection) 

Mr.  Samuel  T.  Peters 
Mr.  Howard  Mansfield 
Mr.  Albert  Gallatin 
Mr.  James  W.  Barney 
Mr.  John  Platt 

Mr.  Grenville  Lindall  Winthrop 
Mr.  and  Mrs.  Eugene  Meyer,  Jr. 
Miss  Katharine  N.  Rhoades 
Mr.  Charles  W.  Gould 
Mr.  S.  K.  de  Forest 
Mr.  Alfred  N.  Beadleston 


PREFACE 


IN  presenting  this  catalogue  I  must  explain  that  I  have 
made  the  most  ample  use  of  the  catalogue  of  the  exhibi¬ 
tion  held  under  the  auspices  of  the  Japan  Society  in  1914. 
As  our  object  is  now,  as  it  was  then,  to  bring  before  the  public 
the  best  works  of  art  and  the  best  information  available,  I 
could  not  do  better.  The  Japan  Society  has  generously  given 
its  permission,  and  Mrs.  Rose  Sickler  Williams  has  allowed 
us  to  reprint  her  exhaustive  and  very  able  report  on  early 
Chinese  potteries.  The  identifications  and  descriptions  then 
made  by  R.  L.  Hobson  have  been  used  for  those  numbers 
which  were  exhibited  then,  and  new  ones  were  made  after 
his  example.  For  that  reason  we  have  reproduced  his  Pref¬ 
atory  Note,  which  contains  a  great  deal  of  valuable  infor¬ 
mation.  In  expressing  our  sincere  thanks  for  this  valuable 
assistance,  we  must  also  mention  Mr.  Charles  L.  Freer  and 
Mr.  Samuel  T.  Peters,  who  by  their  substantial  help  and  advice 
have  done  so  much  toward  the  success  of  this  exhibition. 

S.  C.  Bosch  Reitz. 


TABLE  OF  CONTENTS 

PAGE 

Preface .  ix 

Table  of  Contents .  xi 

Introduction . xiii 

Chinese  and  Corean  Potteries . xxiii 

List  of  Chinese  Dynasties  . xxvii 

Catalogue  .  i 

T’ang  Period .  3 

Ting  Ware .  8 

Tz’u-chou  Ware  .  .  .  19 

Chun  Ware .  25 

Lung-ch’iian  Ware  or  Celadon .  55 

Corean  Ware . 61 

Sculpture  and  Bronzes . 66 

Appendix  .  75 

Keramic  Wares  of  the  Sung  Dynasty,  by  Rose  Sickler 

Williams .  77 

Glossary . 135 

Illustrations . 141 


INTRODUCTION 


IN  exhibiting  a  loan  collection  of  early  Chinese  pottery 
and  sculpture,  The  Metropolitan  Museum  of  Art  has 
a  double  object  in  view:  first,  to  encourage  the  interest 
in  Far  Eastern  Art  by  showing  the  best  available  examples; 
and  in  the  second  place,  by  bringing  together  allied  though 
different  ceramic  wares,  to  facilitate  knowledge  and  research. 

The  excellent  article  which  was  written  by  Mrs.  Rose 
Sickler  Williams  for  the  catalogue  of  the  exhibition  arranged 
by  the  Japan  Society  two  years  ago,  and  which  we  were  allowed 
to  reprint  in  this  catalogue,  gives  the  best  and  latest  historic 
and  scientific  information  on  the  subject  and  will,  no  doubt, 
be  a  great  help  to  the  student.  For  those  who  are  not  familiar 
with  the  development  of  ceramic  art  in  China,  a  few  words 
about  the  origin  of,  and  the  relation  between,  the  different 
kinds  of  pottery  exhibited  may  be  of  use. 

The  exhibition  was  called  an  Exhibition  of  Chinese  Pottery 
because,  although,  scientifically  speaking,  porcelain  was 
made  in  China  at  a  very  early  date,  what  we  understand  as 
true  porcelain  was  made  during  the  Ming  dynasty  or  little 
earlier,  and  is  not  represented  in  our  exhibition.  The  wares 
of  the  T’ang  and  Sung  periods  were  porcelanous  earthen¬ 
ware  or  pottery.  Porcelain  consists  of  a  body  of  kaolin 
covered  with  a  glaze  of  petuntse,  the  flesh  and  bone,  accord¬ 
ing  to  Chinese  authors.  Kaolin  is  a  non-fusible  earth,  held 
together  and  glazed  with  petuntse,  the  same  earth  which, 

[  xiii  ] 


INTRODUCTION 


disintegrated  by  millions  of  years,  has  been  rendered  fusible. 
These  two  substances,  by  nature  allied,  when  fired  together 
in  a  considerable  heat  form  an  absolutely  homogeneous  body 
which  breaks  or  cracks  but  the  glaze  does  not  chip  off.  Accord¬ 
ing  to  the  European  standard,  porcelain  should  be  trans¬ 
lucent,  resonant,  and  hard,  that  is,  it  cannot  be  scratched 
with  a  knife.  The  Chinese  claim  only  resonance  and  hardness. 
As  soon,  however,  as  kaolin  was  used  in  the  manufacture, 
the  nature  of  porcelain  was  there.  We  know  from  records 
that  this  was  the  case  in  the  seventh  century  and  it  may 
have  been  before.  The  early  wares,  however,  retained 
the  nature  of  stoneware  or  porcelanous  pottery  till  the  end 
of  the  Sung  period,  though  some  of  the  thinly  potted  Ting 
ware,  as  shown  in  our  exhibition,  was  very  translucent  and 
several  kinds  were  also  resonant.  In  fact,  the  Ting  yao ,  or 
Ting  ware,  was  father  to  our  white  porcelain.  It  was  covered 
with  a  softer,  thicker,  and  less  transparent  glaze  than  the 
colorless,  watery  glaze  of  the  later  porcelains  and  therefore  it 
is  often  called  soft  paste,  a  misleading  and  erroneous  name. 
Soft  paste  or  pate  tendre  is  artificial  porcelain  made  in  Europe 
before  Boetger  in  1709  found  the  means  of  making  real  porce¬ 
lain  with  kaolinic  earth.  Real  soft  paste,  requiring  less  fir¬ 
ing  and  for  that  reason  fit  to  be  decorated  with  tender  colors 
which  do  not  stand  the  full  heat  of  the  kiln,  was  never  made 
in  China.  What  is  called  Chinese  soft  paste  is  a  later  product 
of  the  eighteenth  and  nineteenth  centuries,  where  the  porce¬ 
lain  earth  was  mixed  with,  or  sometimes  covered  with,  a 
thin  coat  of  steatitic  earth  in  order  that  a  coating  of  thicker, 
more  opaque  glaze  might  be  applied.  The  fact  that  the  glaze 
was  not  homogeneous  with  the  earth  caused  the  crackle  which 
in  most  cases  is  characteristic  of  this  soft  paste,  more  properly 
called  steatitic  porcelain,  and  which  is  often  a  charm  of  this 
dainty  ware. 

The  earliest  ware  which  we  know  in  China  was  made  in  the 
Han  period,  206  B.C.-220  A.D.,  earthenware  covered  with 
a  green  or  thin  yellow  glaze,  sometimes  slightly  baked  without 

[xiv] 


INTRODUCTION 


any  glaze  at  all.  The  tomb  figures  shown  in  our  exhibition  are 
of  this  period  and  are  chiefly  chosen  for  their  extraordinary 
sculptural  beauty.  Allied  to  the  best  Greek  archaic  works, 
they  form  the  link  between  pottery  and  sculpture. 

Chinese  ceramic  art  developed  gradually;  in  the  T’ang 
period,  the  time  when  all  the  arts  flourished  in  China  as  hardly 
ever  afterward,  the  noblest  forms  were  made,  but  technically, 
the  ceramic  art  reached  its  highest  point  under  the  Sung.  In 
Shosoin,  the  famous  storehouse  in  Nara,  where  after  the 
death  of  the  Japanese  Emperor  Shomu,  in  749  A.D.,  all  his 
personal  belongings  and  treasures  were  religiously  kept  and 
for  the  greater  part  are  still  housed,  we  find  hard  pottery 
covered  with  green  and  orange  glazes  in  patches  like  the 
eighteenth-century  egg-and-spinach  ware,  or  decorated  with 
beautiful  formal  patterns  in  blue,  green,  and  yellow  glazes  on 
an  unglazed  ground.  This  enables  us  to  date  with  certainty 
the  similar  pieces  of  T’ang  pottery  lately  brought  to  light  by 
the  opening  of  early  tombs  in  China.  We  show  several  of 
these  pieces  and  among  them  a  charming  vase  of  pure  classic 
lines,  thinly  potted  and  translucent,  a  masterpiece  of  the 
potter’s  art,  which  shows  the  extraordinary  height  of  crafts¬ 
manship  at  this  early  age. 

To  this  period,  also,  are  ascribed  certain  life-size  pottery 
figures  of  Lohans,  of  which  a  series  has  been  lately  brought 
over  from  China,  some  of  which  can  be  seen  in  different 
museums.  We  regret  that  one  of  these,  acquired  by  our 
Museum  in  Berlin,  owing  to  the  present  difficulties  of  trans¬ 
port  cannot  be  shown.  Small  figures  of  the  same  class  are 
represented  and  also  a  beautiful  pair  of  clasped  hands. 
Because  their  early  date  is  contested  by  some  authorities,  we 
are  glad  to  offer  this  opportunity  for  comparison  and  contro¬ 
versy,  hoping  thus  to  further  the  knowledge  on  the  subject. 

In  the  Sung  period  we  begin  to  hear  of  different  famous 
kilns.  First  and  foremost,  the  legendary  Ch’ai  and  Ju  wares 
which  already  in  the  sixteenth  century  were  said  to  have  dis¬ 
appeared.  Fortunately,  a  Chinese  officer  who  accompanied 

[xv] 


INTRODUCTION 


an  embassy  to  Corea  in  1125,  gives  a  description  of  the 
pottery  he  saw  there,  in  which  he  says  it  resembles  in 
color  the  famous  Ju.  For  that  reason  we  have  shown  some  of 
the  Corean  pottery,  found  in  tombs  of  the  Korai  period,  of  the 
very  kind  that  the  Chinese  officer  saw,  in  order  to  give  an 
idea  of  what  this  beautiful,  thinly  potted  Ju  yao  was.  Some 
day  examples  of  these  early  wares  may  be  brought  to  light 
or  discovered  in  existing  collections;  for  the  present,  only 
pieces  answering  more  or  less  to  the  old  descriptions  can  be 
tentatively  so  ascribed.  In  our  exhibition  we  do  not  show 
any  of  these. 

The  Ting  yao,  a  white,  creamy  pottery  with  an  exquisite 
soft  glaze,  apart  from  the  differences  of  Northern  and  South¬ 
ern  Ting,  tu  Ting  and  fen  Ting  (for  which  I  refer  to  Mrs. 
Williams’s  article),  can  be  divided  into  four  different  classes. 
First,  the  real  Ting,  a  hard,  grayish  white  ware  covered  with 
a  thick,  soft,  white  glaze,  plain  or  decorated  with  a  moulded 
design.  Then  a  grayer  ware  covered  with  a  white  slip  before 
the  unctuous  white  glaze  was  applied.  The  slip  is  a  white 
earth  of  the  nature  of  pipe-clay,  made  liquid  by  the  addition 
of  water,  in  which  the  raw  pot  is  dipped  after  having  been 
dried,  the  object  being  to  whiten  the  clay  where  it  might  shine 
through  the  glaze.  Then  there  is  the  crackled  Ting  ware, 
called  Kiangnan  ware,  for  convenience’  sake,  after  R.  L. 
Hobson,  in  his  excellent  book  on  Chinese  Pottery  and  Porce¬ 
lain,  had  suggested  that  such  ware  might  have  been  made  in 
Kiangnan.  Fourth,  I  mention  under  the  same  heading  the 
white  Corean  ware.  One  of  the  objects  of  this  exhibition  is, 
as  I  said  before,  to  throw  light  on  hitherto  contested  or  dark 
points,  and  this  is  one  of  them. 

There  are  those  who  in  their  great  admiration  of  everything 
Chinese  cannot  admit  the  ability  of  other  and  contemporary 
potters.  They  claim  therefore  that  the  white  Corean  Ting 
ware  found  abundantly  in  Corean  graves  of  the  Korai  period, 
that  is,  from  before  1392,  when  Sungdo,  the  old  capital  of 
Corea,  was  destroyed,  must  have  been  of  Chinese  make  im- 

[xvi] 


INTRODUCTION 


ported  into  Corea.  The  letter  of  the  Chinese  officer  of  the 
year  1125,  quoted  before,  uncomfortably  contradicts  their 
statement,  because  he  writes:  “They  have,  besides,  bowls, 
platters,  wine-cups  and  cups,  flower  vases  and  soup  bowls, 
all  closely  copying  the  style  and  make  of  Ting  ware.  Only  the 
wine-pots  present  novel  features.”  The  Japanese  authorities 
also  have  always  claimed  that  white  Corean  ware  had  been 
made,  and  though  they  say  that  the  difference  cannot  be 
described,  they  still  assert  that  to  the  connoisseur  the  differ¬ 
ence  is  discernible.  This  difference  is  certainly  not  easy  to 
discern  and  for  this  reason  we  offer  comparison.  Certain 
Corean  white  ware  not  of  the  finest  quality  has  a  distinct 
green  tinge  where  the  glaze  runs  thick,  which  seems  char¬ 
acteristic,  especially  as  much  later  and  even  quite  late  Corean 
ware  shows  the  same  transparent  green  glaze.  Some  more 
common  Chinese  pottery  and  some  ware  of  the  T’ang  period 
exhibited  here  certainly  show  the  same  glaze,  especially 
where  white  slip  was  used,  and  the  same  difficulty  of  differ¬ 
entiation  exists. 

Ting  ware  of  the  most  beautiful  kind  comes  extraordinarily 
near  our  standard  of  real  porcelain,  and  is  particularly  well 
potted  and  very  translucent.  I  want  to  draw  particular 
attention  in  this  respect  to  a  delightful  bowl,  thin  and  graceful, 
of  very  early  date,  and  of  eggshell  fineness,  a  masterpiece  of 
the  potter’s  art,  and  also  to  the  seated  figure  of  an  Empress, 
the  forerunner  of  the  so-called  blanc  de  Chine  figures  made 
at  a  later  date  in  Fukien.  This  later  Fukien  or  Chien  ware, 
not  to  be  confused  with  the  Sung  Chien  ware  called  Temmoku 
in  Japan,  has  followed  the  traditions  of  the  Ting  yao  up  to  the 
present  day.  Its  soft  and  creamy  glaze  reminds  one  of  the 
European  soft-paste  porcelain.  On  the  other  hand,  the  very 
white,  transparent  Ting  gradually  developed  into  the  real 
porcelain  of  the  Ming  and  later  periods. 

Another  kind  of  pottery,  very  nearly  related  to  the  Ting  yao , 
is  the  Tz’u-chou  yao.  Its  characteristic  is  a  black  or  dark 
brown  decoration  in  bold  lines  and  beautiful  drawing,  though 

[  xvii  ] 


INTRODUCTION 


other  decorations  frequently  occur  through  the  most  varied 
and  clever  use  of  the  slip  already  referred  to.  We  show 
different  specimens  where  the  slip  has  been  incised  in  bold 
patterns  or  cut  away  revealing  the  darker  ground  under¬ 
neath,  or  where  the  white  glaze  has  been  replaced  by  a  dark 
brown  or  black  glaze  treated  in  the  same  way,  incised  or 
cut  away,  leaving  the  bare  paste  visible  in  places. 

Special  attention  should  be  given  to  a  very  rare  and  early 
gray  pot  with  an  incised  ornament  filled  in  with  white  slip  un¬ 
der  a  transparent  glaze.  This  possibly  unique  jar  forms  the 
link  with  another  well-known  Corean  ware,  also  with  an  incised 
design  filled  with  white  slip  and  covered  with  a  transparent 
green  glaze.  On  the  origin  of  this  particular  Corean  ware 
fortunately  the  authorities  agree,  but  its  Chinese  prototype 
was  up  to  now  unknown. 

Just  as  the  black  and  white  Tz’u-chou  ware  was  a  fore¬ 
runner  of  the  later  decorated  porcelain,  the  colored  Tz’u- 
chou  ware  was  the  forerunner  of  the  later  famille  verte  and  all 
the  porcelains  decorated  in  the  muffle  stove.  The  process  of 
the  muffle  stove  is  the  decoration  with  enamel  colors  on 
pottery  or  porcelain  baked  and  glazed  in  the  strong  fire  of 
the  kiln.  These  colors  could  not  stand  great  heat  and  were 
therefore  refired  in  a  much  gentler  heat  sufficient  to  make  them 
adhere  to  the  original  glaze. 

Our  exhibition  shows  a  certain  number  of  pieces  decorated 
in  green  and  yellow  enamels  and  iron  red,  which  should  not 
be  confused  with  the  Tz’u-chou  pieces,  decorated  with  red 
slip,  which  produces  a  duller  color.  Though  enamel  colors 
appear  already  on  T’ang  pottery  (see  No.  6),  the  technique 
is  not  identical,  as  there  the  colors  were  applied  to  unglazed 
or  slightly  glazed  pottery  and  the  whole  piece  did  not  require 
great  firing,  thus  forming  a  ware  more  closely  related  to  the 
later  enamels  on  biscuit  of  the  late  Ming  and  K’ang-hsi  periods. 

If  I  may  be  pardoned  for  introducing  all  these  technical 
questions  and  comparisons  with  later  developments,  I  should 
like  to  point  out  here  the  relation  to  later  ware  of  two  delight- 

[  xviii  ] 


INTRODUCTION 


ful  Sung  pieces,  one  a  vase  with  dragons  in  relief  in  different 
colors  on  a  black  ground,  the  other  a  finely  modeled  small 
black  vase  with  a  beautiful  greenish  yellow  showing  inside. 
These  rare  pieces  of  a  kind  difficult  to  class  seem  the  fore¬ 
runners  of  the  later  pieces  fired  in  the  temperate  kiln  (au  petit 
feu),  where  the  colors  are  not  applied  in  a  second  firing,  but  the 
whole  piece,  colors  and  all,  is  fired  at  once  in  a  temperate  fire. 

The  subject  of  colored  glazes  naturally  leads  us  to  the  chief 
attraction  of  this  exhibition,  the  Chun  yao.  We  have  the 
good  fortune  of  being  able  to  show  a  more  comprehensive 
collection  than  has  ever  been  brought  together,  where  the 
rarer  kind,  especially  the  tzu  t’  ai,  or  porcelanous  ware,  is 
splendidly  represented.  In  Mrs.  Williams’s  article  it  is  clearly 
explained  that  the  Chun  yao,  the  ware  made  in  Chiin-chou 
during  the  period  of  Northern  Sung,  is  divided  into  two  very 
different  kinds,  the  tzu  t’  ai  or  hard  paste  and  the  sha  t’ ai  or 
sandy  paste.  The  fact  is  that  these  two  kinds  have  little  in 
common  except  their  great  beauty.  A  third  kind,  commonly 
called  Yuan  tzu,  of  later  date,  is  related  to  both,  as  its  name 
implies.  It  has  the  appearance  of  the  first,  the  more  sandy, 
though  darker  clay  of  the  second.  In  color  it  is  generally  more 
charming  than  beautiful,  lacking  the  severe  style  of  the  earlier 
ware. 

The  fact  that  the  first-mentioned  Chun,  the  tzu  t’ ai,  is  so 
perfect  in  workmanship  has  long  caused  these  pieces  to  be 
regarded  as  of  later  date.  Comparison  with  Ming  pieces  and 
historical  evidence  have,  however,  satisfactorily  proved  their 
extreme  age.  They  were  made  for  use  rather  than  simply 
for  decoration,  and  though  part  of  them  were  made  with 
tribute  clay  and  for  imperial  use,  in  a  time  when  taste  and 
skill  were  of  such  high  standing  as  under  the  Sung  dynasty, 
they  were  outclassed  by  the  older  and  much  admired  jwares 
of  Ch’ai,  Yu,  and  even  Northern  Ting.  These  have  un¬ 
fortunately  disappeared  long  since,  and  where  comparison 
failed  the  tz’u  t’ai  came  to  its  rights.  It  certainly  is  now  the 
rarest  and  most  sought  after  of  early  Chinese  wares.  The 

[xix] 


INTRODUCTION 


pieces  owe  their  delightfully  varied  colors  to  the  presence  of 
copper  oxide  in  the  glaze  which,  according  to  the  heat  of  the 
kiln  and  the  accidents  of  more  or  less  air,  becomes  blue  and 
purple  till  brilliant  red  comes  to  the  surface  and  again  dis¬ 
appears,  and  becomes  green  and  dull  in  over-fired  pieces. 
For  this  reason  the  brilliant  red,  the  color  of  roses  or 
rouge,  is  the  most  appreciated.  In  later  times  the  air  in  the 
kiln  was  artificially  regulated  by  drafts  or  by  the  letting  in 
of  smoke  to  produce  the  flambe  colors,  while  in  the  early 
kilns  the  effect  was  so-called  natural,  certainly  not  so  easily 
obtained,  but  if  successful  more  beautiful.  That  in  later  times 
not  only  the  color  and  the  shape  of  the  color  splashes  could 
be  determined,  but  designs  even  could  be  produced  is  curiously 
proved  by  a  bowl  of  the  late  Sung  or  Yuan  period  which  is 
shown.  Two  Chinese  letters,  chun  shin,  meaning  “purity  of 
heart,”  are  clearly  visible  and  can  hardly  be  attributed  to 
chance.  By  what  means,  however,  this  was  done  I  am  not 
prepared  to  say.  It  is  easy  to  trace  in  the  existing  specimens 
the  gradual  evolution  of  this  process  which  ended  in  the  loud 
colors  of  the  eighteenth-century  flambes.  The  great  variety 
of  effects  of  firing  on  the  glaze  is  curiously  shown  by  the  olive- 
colored  rims  and  the  bases,  always  covered  with  a  thin  olive 
wash.  Where  the  glaze  ran  thin  at  the  rims  and  was  applied 
thinly  on  the  bases,  the  color  disappeared,  and  left  an  olive- 
brown,  except  in  rare  patches  accidentally  of  greater  thick¬ 
ness,  a  fact  which  can  be  noted  in  all  modern  kilns  where  it 
is  well  known  that  any  glaze  to  produce  the  desired  color  has 
to  be  applied  thickly.  The  hard  Chun  invariably  shows 
under  the  foot  an  incised  number  under  the  glaze,  ranging 
from  one  to  ten,  sometimes  with  the  additional  letter  dai, 
meaning  “great.”  Different  theories  about  the  meaning  of 
these  numbers  exist;  the  most  likely  is  that  they  indicated 
the  size,  one  standing  for  the  largest. 

The  Chien  ware,  chiefly  represented  by  tea  bowls,  known  in 
Japan  as  Temmoku,  is  related  to  the  famous  hard  Chun  in 
so  far  as  it  shows  in  its  best  specimens  the  same  streaky  flecks 

[xx] 


INTRODUCTION 


of  color  which  seem  to  float  in  the  thick  glaze.  In  this  case, 
however,  the  glaze  is  intensely  black  with  silvery  or  brown 
hues  which  have  been  compared  to  hare’s  fur.  The  clay  is, 
however,  very  different,  black  and  thick,  a  porous  mass  which 
has  the  quality  of  retaining  the  heat  for  a  long  time,  for  which 
reason  the  Temmoku  bowls  are  much  appreciated  in  Japan 
for  the  tea  ceremony.  Lately,  similar  bowls  of  much  lighter 
clay  have  been  found  in  Honan,  some  similar  to  the  Chien 
ware,  some  flecked  or  coffee  brown,  some  even  with  designs  of 
leaves  or  dragons.  We  show  several  of  different  varieties. 

A  few  words  about  the  Lung-ch’iian  ware  or  celadon  remain 
to  be  said.  The  celadons  have  long  been  considered  the 
earliest  wares  made  in  China.  They  were  perhaps  the  earliest 
pieces  of  porcelanous  ware;  it  is  certain  they  were  the  first 
pieces  that  reached  Europe.  The  Warham  bowl  treasured 
in  Oxford  in  a  silver-gilt  mount  was  bequeathed  in  1530,  and 
before  that  dishes  presented  to  Lorenzo  de’  Medici  in  1487 
were  considered  marvels;  but,  after  all,  they  dated  only  from 
the  end  of  the  Yuan  period  or  later.  The  fact  is  that  the  early 
mythical  wares  of  Ch’ai  and  Ju  were  of  the  celadon  type. 
According  to  Chinese  description,  they  were  the  color  of  the 
sky  after  rain,  which  is  a  decidedly  greenish  blue  or  blue- 
green.  They  may  have  been  extremely  popular  because  they 
resembled  green  jade;  certainly  at  all  times  Chinese  potters 
have  striven  to  reproduce  this  color,  and  in  the  eighteenth 
century  with  considerable  success.  The  celadons  known  in 
western  countries  till  not  very  long  ago  were  mostly  of  moss- 
green  hue  and  rarely  bluish  in  color.  They  were  the  heavily 
potted  types,  made  for  export  all  over  the  world,  some  early, 
but  mostly  of  the  Yuan  and  early  Ming  periods.  In  Japan 
some  rare  Sung  pieces  of  beautiful  texture  and  light  blue- 
green  color  were  treasured,  but  only  lately  the  early  Chinese 
pieces  have  reached  us,  partly  from  tomb  finds,  partly  from 
excavations  made  on  the  sites  of  the  Lung-ch’iian  kilns  where 
wasters  of  beautiful  color  and  great  thinness  were  found.  They 
are  of  light  grayish  white  porcelanous  clay  covered  with  a 

[xxi] 


INTRODUCTION 


very  transparent  blue-green  glaze,  though  some  range  to 
warmer  green  and  even  brown.  It  is  among  these  bluish  hues 
that  we  must  look  for  the  early  Ch’ai  and  Ju  yaos.  Our  much- 
quoted  Chinese  officer  who  went  to  Corea  in  the  Sung  time 
compares  these  to  the  Corean  celadons;  for  this  reason  we 
included  Corean  wares  of  this  period.  The  great  difference 
between  these  several  kinds  seems  to  have  been  the  quality 
of  the  earth,  which  in  some  cases  contained  more  iron  and 
in  consequence  reddened  in  the  kiln  or  even  turned  quite 
dark  where  exposed  to  the  more  or  less  direct  heat  of  the  fire, 
while  in  the  early  times  it  is  probable  also  that  the  natural 
presence  of  iron  in  the  glaze  produced  the  green  color. 


[  xxii  ] 


CHINESE  AND  COREAN  POTTERIES 


A  LTHOUGH  for  a  long  time  past  a  few  far-seeing  and 
/  \  tasteful  collectors  have  been  gathering  in  all  the  chance 
A.  V  specimens  of  early  pottery  and  porcelain  which  have 
strayed  from  China,  it  is  only  in  quite  recent  years  that  a 
widespread  movement  has  been  apparent  in  Europe  and 
America  in  favour  of  the  earlier  phases  of  Chinese  art;  and 
nothing  could  be  more  symptomatic  of  this  movement  than 
the  opening  of  an  exhibition  in  which  the  Chinese  section 
consists  entirely  of  Sung  and  Yuan  types.1 

The  circumstances  which  have  made  such  an  exclusive  ex¬ 
hibition  possible  are  in  themselves  interesting.  The  growing 
desire  among  Western  collectors  to  possess  examples  of  the 
beautiful  Sung  wares,  and  the  consequently  enhanced  prices 
which  these  wares  now  command,  have  created  a  good  market 
for  them  outside  of  China;  and  the  demand  has  come  at  a 
time  when  the  conditions  prevailing  in  China,  regrettable 
as  they  are  from  so  many  points  of  view,  have  set  free  a 
supply  of  keramic  rarities  which  have  been  hitherto  jealously 
guarded.  At  the  same  time  our  knowledge  of  the  wares  them¬ 
selves  has  been  greatly  augmented  by  the  finds  of  early  pottery 
and  porcelain  in  the  ground  which  railway  construction  has 
chanced  to  disturb.  Consequently  there  has  been  a  steady 
stream  of  early  wares  leaving  China  in  the  last  few  years, 
potteries  coarse  and  refined,  grave-goods  and  collectors’ 


JThis  article  by  Mr.  R.  L.  Hobson,  printed  as  an  introduction  to  the  Chinese 
section  of  the  catalogue  of  the  Japan  Society’s  exhibition  of  1914,  is  here  reprinted 
in  exactly  the  same  form. 


[  xxiii  ] 


CHINESE  AND  COREAN  POTTERIES 


masterpieces,  all  of  them  attractive  for  aesthetic  or  anti¬ 
quarian  reasons.  Indeed,  it  is  surprising  how  few  of  these  old 
potteries,  even  of  the  roughest  of  them,  are  devoid  of  aesthetic 
appeal;  while  of  the  true  representations  of  the  Sung  pottery 
words  are  impotent  to  describe  the  subtle  beauty  and  charm. 

They  are  true  children  of  the  potter’s  art,  reflecting  in  their 
strong  but  graceful  contours,  in  the  skilful  finish  of  their  simple 
forms,  the  loving  touch  of  a  master  hand.  They  are  clothed 
in  the  purest  of  keramic  adornments — glaze,  and  in  most 
cases  glaze  alone.  Sometimes  decoration  in  relief  (carved, 
applied,  or  pressed  out  by  moulds),  or  in  fine,  firm  lines  traced 
with  a  metal  point,  is  added,  true  keramic  methods  which 
consist  of  adding  or  subtracting  clay  and  clay.  Even  when 
the  adventitious  aid  of  the  painter’s  brush  is  requisitioned, 
the  pigment  used  is  almost  always  a  coloured  clay. 

But  the  outstanding  feature  of  the  Sung  and  Yuan  wares 
is  the  beautiful  colour  which  pervades  the  glaze, — colour  due 
in  part  to  infinitesimal  quantities  of  iron  and  copper  oxides 
transformed  by  the  magic  of  the  fire  into  innumerable  shades 
of  green  and  brown,  crimson  and  purple,  turquoise  and  even 
black,  but  due  perhaps  more  especially  to  opalescence,  the 
happy  accident  of  an  immature  technique  in  which  the  thick, 
slow-flowing,  irregular  glaze,  full  of  minute  bubbles  and  pin¬ 
holes,  breaks  up  the  light  as  it  receives  it  into  unimagined 
combinations  of  prismatic  colours.  This  is  the  secret  of  the 
ever-changing  tints  of  the  Chun  ware,  to  which  age  has  added 
a  further  charm  by  investing  the  surface  of  the  glaze  with  a 
faint  iridescent  lustre. 

Add  to  these  the  smooth  soft  green  of  the  celadon  and  the 
refined  ivory  and  waxen  whites  of  the  Ting  wares,  and  the 
growing  admiration  for  the  early  Chinese  potteries  needs  no 
further  explanation.  Indeed,  the  colours  of  the  Sung  and 
Yuan  glazes  are  the  most  subtle  and  at  the  same  time  the  most 
sensuous  in  the  whole  range  of  keramic  art. 

Nor  is  this  all.  Compared  with  later  Chinese  porcelains, 
the  early  wares  have  the  advantage  of  appealing  more  strongly 

[  xxiv  ] 


CHINESE  AND  COREAN  POTTERIES 


to  the  sporting  instinct  at  the  back  of  every  collector’s  mind. 
The  former  are  well  known  and  easily  placed,  and  they  can 
be  acquired  without  difficulty  by  those  who  have  the  means. 
The  latter  are  still  rare  enough  to  require  hunting,  and  they 
are  a  difficult,  elusive,  and  often  dangerous  quarry  worthy 
of  a  true  collector’s  steel.  The  knowledge  of  them  has  only 
just  begun:  there  are  new  fields  to  be  explored  and  fresh 
discoveries  to  be  made.  At  present  we  have  tasted  just 
enough  of  their  quality  to  make  our  appetite  insatiable. 

As  to  their  classification,  it  is  still  largely  tentative  and  must 
remain  so  until  systematic  excavation  is  made  and  literary 
evidence  is  supplemented  by  spade-work.  One  type  of  Chun 
ware,  for  instance,  is  clearly  established;  but  the  same  name 
is  used  to  cover  other  large  groups,  one  of  which,  called 
“soft  Chun”  in  the  catalogue,  differs  widely  in  its  buff-red 
paste  and  crystalline  glaze  from  the  traditional  Chun  type. 
One  or  two  kinds  of  Ko  ware  are  recognised,  while  others  and 
the  cognate  Kuan  wares  are  still  conjectural  and  as  misty  as 
the  smooth  lavender-grey  glaze  which  I  have  tentatively 
associated  with  the  name  of  Kuan  in  the  descriptions.  The 
typical  Lung-ch’iian  celadon  is  well  known,  but  there  are  many 
other  celadons  awaiting  identification;  and  the  same  partial 
recognition  has  been  reached  in  the  large  group  of  Ting  wares. 
There  is,  in  fact,  abundant  scope  for  research  and  discovery. 

Literary  evidence  has  been  our  mainstay  hitherto,  and  the 
results,  though  incomplete,  are  not  altogether  negligible. 
A  single  instance  will  serve  to  illustrate  its  value  and  at  the 
same  time  to  introduce  the  Corean  wares  which  are  described 
in  another  section  of  the  catalogue.  Hsu-ching  was  an  officer 
in  the  suite  of  Lu  Yun-t’i,  who  went  on  an  embassy  to  Corea 
in  1125,  and  among  the  notes  which  he  made  on  that  country 
are  the  following  instructive  paragraphs: 

“The  wares  of  Kao-li  (Corea)  which  are  green  {citing)  in 
colour  are  described  as  fei  (kingfisher)  by  the  people  of  the 
country.  In  recent  times  the  fashion  of  these  wares  has  been 
clever,  and  the  colour  and  glaze  even  better  (than  the  form). 

[  XXV  ] 


CHINESE  AND  COREAN  POTTERIES 

The  shape  of  the  wine  pots  is  like  a  gourd,  with  small  cover 
on  the  top  in  the  form  of  a  duck  squatting  on  a  lotus  flower. 
They  have,  besides,  bowls  (wan),  platters  ( t’ieh ),  wine  cups 
( pei )  and  (tea)  cups  (ou),  flower  vases  and  soup  bowls  (t’ang 
chan),  all  closely  copying  the  style  and  make  of  Ting  ware. 
.  .  .  Only  the  wine  pots  present  novel  features. 

“  In  Kao-li  the  drinking  vessels  and  dishes  for  the  banquet 
table  are  mostly  of  gilt  metal  or  silver,  but  green  pottery 
vessels  are  also  highly  prized.  There  are,  besides,  lion  ( suan  i) 
incense-burners  which  are  also/-??  colour.  The  creature  squats 
on  top  of  the  vessel,  supported  by  an  upturned  lotus.  Of  all 
the  wares,  only  these  are  of  exceeding  excellence.  The  rest 
have  a  general  resemblance  to  the  old  pi-se  (secret  colour) 
ware  of  Yiieh-chou  and  the  recent  wares  of  Ju-chou.” 

As  we  are  quite  familiar  with  the  Corean  celadon,  we  obtain 
from  this  last  passage  a  clear  hint  as  to  the  nature  of  two  rare 
Chinese  wares. 

R.  L.  Hobson. 


[  xxvi ] 


LIST  OF  CHINESE  DYNASTIES 


Shang  Dynasty  . 
Chou  Dynasty  . 
Shin  Dynasty 
Han  Dynasty 
Wei  Dynasty 
The  Six  Dynasties 
T’ang  Dynasty  . 
The  Five  Dynasties 
Sung  Dynasty  . 
Yuan  Dynasty  . 
Ming  Dynasty  . 
Ch’ing  Dynasty 


.  1767-1 122  B.  C. 
.  1122-256  B.  C. 

256-206  B.  C. 
206  B.  C.-220  A.  D. 
220-265  A.  D. 
265-618  A.  D. 
618-906  A.  D. 
906-960  A.  D. 
.  960-1280  A.  D. 
.  128(^1368  A.  D. 
.  1368-1644  A.  D. 
.  1644-1912  A.  D. 


[  xxvii  ] 


CATALOGUE 


CATALOGUE 


T’ANG  PERIOD 

1  Vase  in  the  shape  of  a  pilgrim  bottle  with  broad  foot,  low  neck, 
and  two  handles.  Decorated  with  a  classic-looking  design  of 
two  dragons;  light  whitish  buff  ware  covered  with  a  trans¬ 
parent,  iridescent  glaze,  finely  crackled. 

T’ang  dynasty. 

H.  7 in.  D.  in. 

2  Vase  in  the  shape  of  a  pilgrim  bottle  with  broad  foot,  low  neck, 
and  two  handles.  Decorated  with  a  classic-looking  design  of  a 
phoenix  between  grape  vines;  light  buff"  clay  covered  with  a 
brown  glaze  mottled  with  greenish  black. 

T’ang  dynasty. 

H.  in.  D.  in. 

3  Vase  with  globular  body,  flaring  mouth,  spreading  foot, 
and  two  small  handles.  Of  classical  purity  of  design  and  evi¬ 
dently  strongly  influenced  by  early  Greek  art.  Very  fine  white 
paste  covered  with  a  thin,  transparent  glaze  which  has  almost 
entirely  disappeared,  and  decorated  with  a  raised  and  impressed 
ornament  of  leaves  and  formal  branches. 

T’ang  dynasty. 

H.  4  in.  D.  4 yi  in. 

4  Vase  with  graceful  ovoid  body,  wide  mouth  with  low  rim,  and 
small  base.  Thin  and  highly  translucent  porcelanous  ware 
which  seems  almost  bodiless.  The  glaze  is  of  delicate  pearly 
gray  tint,  crackled,  and  faintly  clouded  with  minute  brown 
specks.  The  base,  which  is  only  partially  covered  with  glaze, 
shows  a  white  body  rough  with  kiln-sand. 

[3] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


The  form  of  this  exquisite  vase  is  Grecian,  and  it  is  probably 
the  earliest  piece  of  translucent  porcelain  as  yet  published. 

Sung  dynasty  or  earlier. 

H.  3  yi  in.  D.  3  pi  in. 

5  Vase  of  baluster  form  with  high  shoulders  and  small,  spreading 
neck.  Of  buff-colored  soft  clay  covered  with  brown-black 
glaze,  finely  crackled,  leaving  the  clay  to  show  through  in  a 
design  of  flowering  plum  branches. 

Tz’u-chou  type:  T’ang  dynasty. 

H.  7  in.  D.  5  in. 

6  Dish  on  three  feet.  Of  whitish  buff  paste  covered  with  thin, 
finely  crackled  greenish  glaze,  decorated  in  the  center  with  an 
incised  pattern  filled  in  with  blue,  green,  and  yellow  enamels. 
T’ang  dynasty. 

H.  2^  in.  D.  wyi  in. 

7  Incense-burner  on  three  feet.  Hard  buff  paste,  the  upper 
part  covered  with  white  slip  and  a  finely  crackled,  transparent 
glaze  with  splashes  of  blue  and  yellow,  making  a  formal  pattern. 
T’ang  dynasty. 

H.  4 y  in.  D.  6y  in. 

8  Pot  of  globular  form  and  short,  wide  lip  with  two  handles  in 
the  shape  of  animals,  intended  to  hold  rings.  Hard  buff  paste, 
the  upper  part  covered  with  thin  white  slip  and  a  thin,  trans¬ 
parent  glaze  splashed  with  blue  and  green  enamels.  Six 
moulded  medallions  covered  with  green  and  yellow  enamels 
have  been  applied  around  the  neck  and  body. 

T’ang  dynasty. 

H.  in.  D.  7  in. 

9  Vase  with  two  handles  in  the  shape  of  dragons.  Light  buff 
paste,  the  upper  part  covered  with  green  and  orange  finely 
crackled  glaze. 

T’ang  dynasty. 

H.  13^  in.  D.  yy2  in. 

IO  Small  tomb  pillow  of  so-called  agate  ware,  composed  of  layers 
of  yellowish  white  and  brown  clay;  in  places  covered  with  the 
remains  of  a  thin,  transparent  glaze. 

T’ang  dynasty. 

H.  2 in.  D.  \V\  in. 


[4] 


T’ANG  PERIOD 


1 1  Globular  pot  with  wide,  low  neck.  Decorated  with  an  incised 
formal  pattern  in  four  bands.  The  incised  design  has  been 
inlaid  with  white  slip;  the  neck  and  inside  are  covered  with  the 
same  slip.  A  thin,  transparent  glaze  covers  the  entire  surface 
and  ends  in  an  irregular  line  near  the  foot.  This  vase  is  inter¬ 
esting  as  the  prototype  of  the  technique  used  by  the  Coreans 
in  their  decoration  of  Korai  celadons. 

T’ang  dynasty. 

H.  5  in.  D.  in. 

12  Bulbous  vase  with  low,  spreading  neck,  of  light,  reddish  buff 
clay  covered  with  white  slip  and  carved  in  a  pattern  of  flower¬ 
ing  branches;  about  the  neck  a  band  of  conventional  leaves. 
Covered  with  a  thin,  transparent  glaze  mostly  deteriorated. 
Tz’u-chou  type:  T’ang  dynasty. 

H.  5p6  in.  D.  6  in. 

13  Vase  with  oviform  body,  spreading  neck,  and  broad  foot; 
neck  broken  off.  Soft  white  paste  covered  with  white,  orange, 
and  green  glaze  in  patches.  Decorated  with  a  formal  design  of 
phoenix  between  iris  flowers  and  on  the  reverse  a  huntsman 
surrounded  by  the  same  formal  design. 

T’ang  dynasty. 

H.  9%”  in.  D.  in. 

14  Incense-burner  on  five  legs  resting  on  a  ring.  Buff  paste  cov¬ 
ered  with  white,  green,  and  orange  glaze  in  patches,  egg  and 
spinach  pattern. 

T’ang  dynasty. 

H.  4 yi  in.  D.  6  in. 

15  Ewer  with  handle,  in  the  shape  of  two  dragons  drinking  and  a 
spout  in  the  shape  of  a  bird’s  head.  Hard  buff  paste  covered 
with  finely  crackled  green  glaze. 

T’ang  dynasty. 

H.  18^  in.  D.  9  in. 

16  Vase  with  pear-shaped  body,  long  neck,  and  flaring,  scalloped 
lip.  Decorated  with  bands  of  flower  scrolls  and  long  leaves 
about  the  bottom  and  neck.  The  paste  is  light  gray,  burned 
reddish  in  firing;  very  light  in  weight.  Transparent  glaze, 
finely  crackled,  green  where  it  has  run  thick. 

T’ang  dynasty. 

H.  1334  in.  D.  5  in. 


[5] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


17  Vase  with  pear-shaped  body,  and  spreading,  scalloped  mouth. 
Light  buff  paste  covered  with  white  glaze  over  which  is  a  yellow 
glaze,  of  which  only  traces  remain  except  inside  the  mouth. 
T’ang  dynasty. 

H.  I2>£  in.  D.  5  in. 

18  Vase  in  the  shape  of  a  bronze  with  globular  body,  long  neck,  and 
high  foot.  Light  buff  clay  reddened  in  the  firing  and  covered 
with  transparent,  crackled  greenish  glaze. 

T’ang  dynasty. 

H.  in.  D.  in. 

19  Pear-shaped  vase  with  slightly  spreading  neck  decorated  with  a 
band  of  flower  scrolls  and  long  leaves  round  the  bottom.  Light 
buff  ware  burned  red,  light  in  weight,  and  covered  with  trans¬ 
parent,  finely  crackled  glaze  turned  green  where  it  has  run 
thick.  The  paste  has  burnt  red  in  the  design,  where  the  glaze 
is  thin. 

T’ang  dynasty. 

H.  9  in.  D.  5  in. 

20  Small,  pear-shaped  vase  on  a  high  foot,  with  wide  mouth,  and  a 
pierced  design  of  lotus  flowers,  the  bottom  covered  with  lotus 
leaves.  Light  buff  clay,  light  in  weight,  burned  brown,  and 
covered  with  minutely  crackled,  transparent  glaze. 

T’ang  dynasty. 

H.  \yi  in.  D.  3  in. 


21  Small,  octagonal,  pear-shaped  vase  with  short  neck.  Light 
gray  clay  burned  brown;  decorated  with  eight  panels  filled 
with  flower  scrolls  and  covered  with  greenish  transparent 
glaze. 

T’ang  dynasty. 

H.  in.  D.  3^  in. 


22  Small  bowl  of  conical  shape  with  rounded  sides.  Hard,  grayish 
buff  ware  covered  with  a  thin,  transparent  glaze,  crackled  and 
water  stained. 

Kiangnan  type:  T’ang  dynasty. 

H.  in.  D.  in. 


[6] 


T’ANG  PERIOD 


23  Small  box  of  light,  reddish  buff  clay  covered  with  a  regular 
design  in  white,  orange,  blue,  and  green  glazes. 

T’ang  dynasty. 

H.  \y2  in.  D.  33^  in. 

24  Small  figure  of  a  sitting  Lohan  of  light-colored  buffi  clay.  The 
hands  and  garments  are  covered  with  yellow,  green,  and  white 
glaze,  finely  crackled  and  in  patches.  The  face  and  chest  are 
left  unglazed. 

T’ang  dynasty. 

H.  634  in.  D.  4  in. 

25  Miniature  vase  of  baluster  shape  with  two  scroll  handles. 
Fine  buffi  ware  covered  with  a  white  slip  and  a  green,  finely 
crackled  glaze;  ornamented  in  brown  pigment  with  a  sketchy 
drawing  of  an  iris  in  a  flower  pot,  and  partly  covered  with  an 
orange-yellow  sediment. 

T’ang  dynasty. 

H.  4  in. 

26  Miniature  vase  of  baluster  shapewithtwosmall  handles  moulded 
in  the  shape  of  masks  and  rings.  Covered  with  a  white  slip  and 
a  yellow,  finely  crackled  glaze;  decorated  with  splashes  of 
green,  yellow,  and  red  enamel  suggesting  a  flower. 

T’ang  dynasty. 

H.  4  in. 


[  7  1 


TING  WARE 


27  Globular  vase  with  long  neck  decorated  with  two  bands  of 
raised  key  pattern.  Finely  crackled  white  glaze  over  hard 
porcelanous  ware. 

Kiangnan  ware:  Sung  dynasty. 

H.  i6>^  in.  D.  \\y2  in. 

28  Vase  with  graceful  ovoid  body  and  small  mouth.  Translucent 
porcelanous  ware  with  ivory-white  glaze,  clouded  in  parts  with 
smoky  brown  stains. 

Probably  made  at  Ching-te-chen:  Sung  dynasty. 

H.  7^  in.  D.  6^4  in. 

29  Vase  with  slender  ovoid  body  and  high,  narrow  neck  with 
flaring  mouth.  Hard  buff-white  ware  with  a  wheel-made  band 
on  the  shoulder  and  on  the  neck.  Creamy  glaze  of  uneven  flow, 
flawed  in  places  and  stained  by  age. 

T’u  Ting  ware:  Sung  dynasty. 

H.  21  in.  D.  7^  in. 

30  Pot  of  globular  form  with  wide,  straight,  short  neck;  of  hard 
buff  ware  covered  with  a  creamy  white  glaze. 

T’u  Ting  ware:  Sung  dynasty. 

H.  5  in.  D.  5^  in. 

31  Vase  with  slender,  pear-shaped  body  and  tall,  tapering  neck, 
slightly  spreading  at  the  mouth.  Reddish  buff  stoneware  with 
creamy  glaze  having  fine  “fish-roe”  crackle,  faintly  tinged  with 
brown. 

Probably  Sung  ware  of  the  Ting  class,  made  in  the  Kiangnan 
factories. 

H.  in.  D.  7  in. 


[8] 


TING  WARE 


32  Vase  with  graceful  ovoid  body,  short  contracted  neck,  and 
flanged  mouth,  the  line  being  broken  at  the  shoulder  by  a 
slightly  raised  ridge  and  three  wheel-made  bands  incised. 
White  porcelanous  ware  with  ivory-white  glaze  and  a  few  faint 
brownish  “tear-stains”:  flat  base  beveled  at  the  edge. 

Ting,  probably  Ching-te-chen  ware:  Sung  dynasty. 

H.  13  in.  D.  -jy,.  in. 

33  Sprinkler  of  bronze  form.  Ovoid  body,  slender  neck,  and 
flange  projecting  at  the  top,  ending  in  a  fine  point.  Small 
spout  with  cup-shaped  mouth.  White  porcelanous  ware  with 
creamy  glaze. 

T’u  Ting  ware:  Sung  dynasty. 

H.  in.  D.  4  in. 

34  Vase  with  oval,  melon-shaped  body  and  high  neck,  with  flaring 
mouth  and  low  foot.  Gray-buff  ware  covered  with  white  slip 
and  thick  creamy  glaze.  Rim  fitted  with  copper  band. 

T’u  Ting  ware:  Sung  dynasty. 

H.  in.  D.  4 y2  in. 

35  Vase  with  graceful  ovoid  body  and  short,  narrow  neck  with 
spreading  mouth.  Reddish  buff  stoneware  with  a  solid,  smooth 
white  glaze  of  ivory  tone  faintly  browned  by  age.  The  glaze 
is  minutely  crackled  and  has  the  texture  and  lustre  of  an  egg. 
Ting  type,  probably  made  at  Tz’u-chou  or  in  one  of  the  Shansi 
factories:  Sung  dynasty  or  earlier. 

H.  14 yi  in.  D.  7X  in. 

36  and  37  A  pair  of  conical  bowls  with  small  foot  and  straight  sides, 

the  mouth  rim  bare  and  fitted  with  a  silver  band.  Hard  buff- 
white  ware  with  lightly  moulded  ornament  under  a  warm, 
creamy  glaze  which  is  irregularly  crackled.  Inside  is  a  lotus 
flower  at  the  bottom  and  a  design  of  flowering  lotuses  growing 
up  the  sides,  edged  with  a  band  of  key-fret,  called  “cloud  and 
thunder”  pattern  by  the  Chinese. 

T’u  Ting  ware:  Sung  dynasty. 

H.  3^in.  D.  7^  in. 

38  Bowl  of  wide  conical  form  with  straight  sides  and  small  foot. 
Hard  buff-white  ware  with  ornament  moulded  in  low  relief 
under  a  creamy  white  glaze,  slightly  crackled  on  the  exterior. 

[9] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 

The  mouth  rim  is  bare  and  fitted  with  a  silver  band.  Inside  is  a 
lotus  flower  at  the  bottom  and  a  design  of  three  fish  among 
lotuses  and  aquatic  plants  on  the  sides,  edged  with  a  band  of 
key-fret  or  “cloud  and  thunder”  pattern. 

T’u  Ting  ware:  Yuan  dynasty. 

H.  3)4  in-  D.  8  in- 

39  Conical  bowl  with  straight  sides.  Inside  decorated  with  design 
of  chrysanthemums  and  at  the  center  the  symbol  yin-yang. 
Hard  white  ware  with  beautiful  thin,  whiteglaze,  unintentionally 
crackled.  The  mouth  rim  is  bare  and  fitted  with  a  metal  band. 
T’u  Ting  ware:  Sung  dynasty. 

H.  3  in.  D.  7  in. 

40  Bowl  of  conical  form  with  small  foot  and  gently  curving  sides. 
Hard  buff-white  ware  with  ornament  strongly  etched  with  a 
pointed  instrument  under  a  soft,  yellowish  glaze  minutely 
crackled  and  clouded  with  a  light,  smoky  brown  stain:  the 
mouth  rim  unglazed  and  fitted  with  a  copper  band.  Inside,  a 
lotus  flower  at  the  bottom  and  lotus  scrolls  in  archaic  design  on 
the  sides. 

T’u  Ting  ware:  Sung  dynasty. 

H.  3  y2  in.  D.  6  in. 

41  Flat  dish  of  white-buff  paste  with  creamy  white  glaze.  Deco¬ 
rated  with  moulded  design,  a  goose  among  flowers  with  border  of 
phoenixes  and  chrysanthemums  between  a  double  border  of 
“cloud  and  thunder”  pattern.  Unintentionally  crackled. 

Pai  Ting  ware:  Sung  dynasty. 

H.  2X  in.  D.  11  yi  in. 

42  Vase,  bottle-shaped  with  depressed  globular  body  and  tall, 
slender  neck  with  a  ten-lobed  bulb  at  the  mouth.  Dense  buff 
stoneware  with  creamy  crackled  glaze  clouded  with  dull  red¬ 
dish  brown  stains.  Etched  ornament  consisting  of  five  bats 
(emblems  of  the  five  blessings)  among  ju-i  cloud  scrolls.  A 
border  of  gadroons  and  of  key-fret  at  the  junction  of  shoulder 
and  neck,  and  a  band  of  stiff  plantain  leaves  on  the  neck. 

The  wufu,  or  five  blessings,  are  Riches,  Happiness,  Longevity, 
Peace  and  Tranquillity,  and  An  End  Crowning  the  Life. 

T’u  Ting  ware:  Yuan  dynasty. 

LI.  12  in.  D.  8)4  in- 

[  10  ] 


TING  WARE 


43  Vase  with  ovoid  body,  short  contracted  neck,  and  spreading 
mouth.  Reddish  brown  stoneware  with  thick  cream  glaze 
shading  off  into  faint  brown  in  places,  and  lightly  stained  here 
and  there  with  purple.  Crackled  glaze.  The  ornament  is  bor¬ 
rowed  from  an  antique  bronze,  and  consists  of  a  belt  of  key- 
fret  and  k’uei  dragon  pattern  outlined  in  low  relief,  and  a^band 
of  round-headed  studs  on  the  shoulder. 

Probably  made  in  the  province  of  Kiangnan:  Sung  dynasty. 

H.  i in.  D.  io yA  in. 

44  Beaker-shaped  vase  of  bronze  form,  white  porcelanous  ware 
covered  with  yellowish,  finely  crackled  glaze. 

Kiangnan  ware:  Sung  dynasty. 

H.  \8yi  in.  D.  &y2  in. 

45  Vase  with  broad,  pear-shaped  body,  short  neck,  and  wide, 
spreading  mouth.  Reddish  brown  stoneware  with  closely 
crackled  cream  glaze,  stained  by  age  and  corrugated  under  the 
base.  The  form  and  ornament  are  taken  from  an  antique 
bronze,  and  the  latter  consists  of  a  belt  of  k’uei  dragon-fret,  a 
border  of  ju-i  heads  on  the  neck,  and  a  band  of  studs  on  the 
lower  part  of  the  body. 

Probably  made  in  the  province  of  Kiangnan:  Sung  dynasty. 
H.  9%"  in.  D.  io  in. 

46  Vase  with  tall,  slender  body  gently  rounded  at  the  shoulders, 
neck  cut  off,  and  wide  mouth.  Buff-white  stoneware  with 
yellowish  creamy  glaze  closely  crackled  in  “fish-roe”  pattern 
and  clouded  with  brown  stains.  The  surface  is  uneven  like 
orange  peel. 

Ting  type,  probably  made  in  the  province  of  Kiangnan:  Yuan 
dynasty. 

H.  193^  in.  D.  y/A  in. 

47  Vase  with  slender  ovoid  body,  short  contracted  neck,  and 
spreading  mouth.  Reddish  brown  stoneware.  The  glaze  has  a 
rough  granular  surface,  usually  compared  with  that  of  an  ostrich 
egg.  Inside  the  mouth  the  granulations  are  exaggerated  and 
the  glaze  has  a  shark-skin  texture.  The  ornament  is  borrowed 
from  an  antique  bronze,  and  consists  of  a  belt  of  key-fret  and 
k’uei  dragon  pattern  outlined  in  low  relief,  and  a  band  of 
round-headed  studs  on  the  shoulder. 

[11] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


Probably  made  in  the  province  of  Kiangnan:  Sung  dynasty. 

H.  17H  in*  D.  ioy£  in. 

48  Basin  of  conical  form  with  gently  curving  sides  and  small  foot. 
Hard  buff-white  ware  with  ornament  moulded  in  low  relief 
under  a  faintly  crackled  glaze  of  warm  cream  color.  The 
mouth  rim  is  bare  and  fitted  with  a  metal  band.  In  the  center 
is  a  fish  and  on  the  sides  a  design  of  fishes  among  lotuses  and 
aquatic  plants. 

T’u  Ting  ware:  Sung  dynasty. 

H.  in.  D.  9 yi  in. 

49  Vase  of  slender  ovoid  form  with  short  neck  and  small  mouth. 
Hard  white  ware  with  faintly  crackled  cream  glaze  which  has 
flowed  unevenly  in  light  brownish  “tear-stains.”  Through  the 
glaze  dimly  appears  a  formal  lotus  scroll  freely  incised  and 
covering  the  whole  surface. 

T’u  Ting  ware:  Sung  dynasty. 

H.  12 y2  in.  D.  5  yi  in. 

50  Basin  of  conical  form  with  gently  curving  sides  and  small  foot. 
Hard  buff-white  ware  with  ornament  moulded  in  low  relief 
under  a  faintly  crackled  glaze  of  warm  cream  color.  The 
mouth  rim  is  bare  and  fitted  with  a  silver  band.  In  the  center 
is  a  fish,  and  on  the  sides  a  design  of  three  fishes  among  lotuses 
and  aquatic  plants,  bordered  by  a  band  of  key-fret  or  “cloud 
and  thunder”  pattern. 

T’u  Ting  ware:  Sung  or  Yuan  dynasty. 

H.  4 yi  in.  D.  13  yi  in. 

51  Vase  with  slender  ovoid  body  and  small  neck  with  flanged 
mouth.  Buff  stoneware  with  white  slip  coating  which  reaches 
almost  to  the  base,  and  a  colorless  glaze.  The  surface  is 
minutely  crackled  and  has  the  solid  ivory-white  appearance  of 
the  choicest  Satsuma  ware. 

Probably  made  in  the  province  of  Shansi:  Sung  dynasty  or 
earlier. 

H.  9^  in.  D.  5  in. 

52  Basin  of  conical  form  with  gently  curving  sides  and  small  foot. 
Hard  buff-white  ware  with  ornament  moulded  in  low  relief 
under  a  faintly  crackled  glaze  of  warm  cream  color.  The 

[  12  ] 


TING  WARE 


mouth  rim  is  bare  and  fitted  with  a  silver  band.  Chrysanthe¬ 
mum  flowers  and  leaves  on  the  sides  and  “cloud  and  thunder” 
band  above. 

T’u  Ting  ware:  Sung  dynasty. 

H.  3  %  in.  D.  9^  in. 

53  Globular  vase  with  tall,  spreading  neck  and  incised  pattern  of 
flowers  and  leaves.  Gray-buff  ware  covered  with  thick  yellow¬ 
ish  glaze. 

Ting  ware:  Sung  dynasty. 

H.  13^  in.  D.  6^4  in. 

54  Large  dish  with  engraved  design  of  fishes  and  border  of  water 
plants.  Buff-white  ware  with  thick  creamy  white  glaze,  beau¬ 
tifully  crackled. 

Pai  Ting  ware:  Yuan  dynasty. 

H.  \]/2  in.  D.  1076  in. 

55  Bowl  of  conical  form  with  slightly  rounded  sides  in  the  shape  of 
a  six-petaled  flower,  decorated  with  peonies  in  moulded 
pattern.  White  porcelanous  clay  covered  with  yellowish  cream 
glaze  showing  tear  stains  on  the  outside. 

T’u  Ting  ware:  Sung  dynasty. 

H.  zyi  in.  D.  in. 

56  Quadrangular  vase  of  bronze  form  with  wide  shoulders,  con¬ 
tracted  neck  with  sides  almost  straight,  and  slightly  expanded 
mouth;  low,  hollow  base.  Hard  buff-white  pottery  covered 
with  white  slip  and  a  sparsely  crackled  glaze  of  uneven  flow, 
and  showing  brownish  passages  where  it  has  run  thick.  Boldly 
incised  ornament  consisting  of  a  belt  of  formal  lotus  designs 
inclosed  by  scrolled  foliage.  Borders  of  ju-i  scrolls  at  the  base; 
of  false  gadroons  inclosing  cusped  ornament  on  the  shoulders; 
and  of  key-fret  or  “cloud  and  thunder”  pattern  on  the  neck. 
Ting  ware:  Sung  dynasty. 

H.  20  in.  D.  14^  in.  W.  of  a  side,  10  in. 

57  Flask  of  pilgrim  bottle  shape.  Porcelanous  ware  with  slip 
cover  and  ornament  moulded  in  low  relief  under  creamy  glaze. 
On  each  side  are  dragons  and  “cloud  and  thunder”  borders. 

T’u  Ting  ware:  Yuan  dynasty. 

H.  13X  in.  D.  in. 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


58  Vase  in  form  of  a  flattened,  flask-shaped  bottle  with  short, 
straight,  round  neck  and  hollow,  oval  foot.  Thin  white  pottery 
of  moderate  hardness,  with  designs  moulded  in  low  relief 
under  a  faintly  crackled,  yellowish  glaze  which  has  flowed 
unevenly  here  and  there  and  formed  in  thick  patches  and 
drops.  On  one  side  is  a  three-clawed,  full-face  dragon  among 
ju-i- shaped  clouds  and  flame  scrolls,  grasping  a  “pearl.”  On 
the  other  side  is  a  phoenix  standing  on  one  leg  among  ju-i 
clouds.  Borders  of  key-fret  or  “cloud  and  thunder”  pattern. 
The  ju-i  (“as  you  wish”)  sceptre,  which  has  a  head  like  the 
ling-chih  fungus,  is  an  auspicious  object  which  brings  fulfilment 
of  wishes.  Conventional  cloud  scrolls  commonly  end  in  a  form 
suggesting  the  ju-i  head  and  embodying  its  auspicious  meaning. 
T’u  Ting  ware:  Yuan  dynasty. 

H.  14K  in.  D.  11  in. 

59  Pilgrim  bottle  of  flattened  flask  form  with  two  dragon  handles 
at  the  neck.  Porcelanous  ware  with  ornament  moulded  in  low 
relief  under  a  cream-white  glaze.  On  each  side  are  scrolls  of 
conventional  peonies  (the  fu  kuei  flower,  symbolizing  riches 
and  honors)  with  ju-i- shaped  petals  in  their  centers,  inclosing 
bats,  which  are  emblems  of  happiness:  borders  of  key-fret  or 
“cloud  and  thunder”  pattern. 

T’u  Ting  ware:  Yuan  dynasty. 

H.  12  in.  D.  824  in. 

60  Bowl  with  straight  flaring  sides  curving  inward  toward  the  foot. 
Porcelanous  white  ware  with  creamy  greenish  white  glaze. 
Decorated  with  flowers  in  six  compartments  and  border  of 
“cloud  and  thunder”  pattern. 

Pai  Ting  ware:  Yuan  dynasty. 

H.  2^  in.  D.  in. 

61  Bowl  of  conical  form  with  slightly  rounded  sides.  White 
porcelanous  ware  covered  with  thin  white  glaze  unintention¬ 
ally  crackled.  Decorated  with  carved  lotus  flowers. 

Pai  Ting  type:  Yuan  dynasty. 

H.  2 yj  in.  D.  in. 

62  Bowl  of  conical  form  with  small  foot.  Gray  porcelanous  earth 
covered  with  a  thick,  creamy  white  glaze.  Carved  ornament  of 
lotus  flowers. 

T’u  Ting  ware:  Sung  dynasty. 

H.  2  in.  D.  8  in. 


TING  WARE 


63  and  64  A  pair  of  vases  of  pilgrim  bottle  shape  with  moulded 
pattern  of  dragons.  Gray  porcelanous  ware  with  thick 
crackled  glaze. 

Fen  Ting  ware:  Sung  dynasty. 

H.  80  in.  D.  6  in. 

65  Flat,  deep  dish  with  straight  border  decorated  with  a  moulded 
design  of  a  lion  playing  with  a  ball,  and  floral  border.  White 
porcelanous  ware  turned  red  in  firing.  Covered  with  yellow 
glaze. 

T’u  Ting  type,  made  at  Ching-te-Chen:  Yuan  dynasty. 

H.  20  in.  D.  90  in. 

66  Bowl  of  conical  form  with  small  foot  and  six-foil  mouth  rim. 
Slightly  translucent  porcelain  with  ivory-white  glaze  and  faint 
brownish  “tear-stains.”  Boldly  carved  ornament  consisting  of 
a  lotus  flower  in  the  bottom  and  a  lotus  scroll  on  the  side  within 
and  without.  Metal  band  on  rim. 

T’u  Ting  ware:  Sung  dynasty. 

H.  80  in.  D.  3  0  in. 

67  Saucer  dish  with  fluted  sides  and  narrow  rim  with  wavy  edge. 
Porcelanous  ware  with  ivory-white  glaze:  moulded  design  on 
the  interior.  The  unglazed  edge  is  fitted  with  a  copper  band. 
In  the  center  is  a  Buddhistic  figure  holding  over  his  head  a  bowl 
of  lotuses  surrounded  by  a  halo  of  flames;  beside  him  is  a  deer, 
the  Taoist  symbol  of  longevity,  and  in  the  spaces  are  two  bowls 
of  growing  lotus  plants.  On  the  sides  are  floral  sprays  repeated 
in  each  of  the  flutes,  and  on  the  rim  is  a  pattern  of  overlapping 
leaves. 

Pai  Ting  ware:  Yuan  dynasty. 

D.  80  in. 

68  Dish  with  narrow,  flat  rim.  Porcelanous  ware  with  ivory-white 
glaze:  the  edge  bare  and  fitted  with  a  silver  band.  In  the 
center  is  a  beautiful  scroll  of  formalized  lotus  or  peony  flowers 
with  feathery  foliage  boldly  carved;  on  the  rim  is  a  running 
foliage  scroll  etched  with  a  point. 

T’u  Ting  ware:  Sung  dynasty. 

D.  10  in. 

69  Saucer  dish  with  six-lobed  edge.  Porcelanous  ware  with 
moulded  design  in  low  relief  under  an  ivory-white  glaze:  “tear- 
stains”  on  the  outside.  The  mouth  rim  is  unglazed  and  fitted 

[15] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


with  a  copper  band.  Inside  is  a  peony  scroll  with  three  semi¬ 
nude  boys  among  the  branches. 

Pai  Ting  ware:  Sung  or  Yuan  dynasty. 

D.  7^4  in. 

70  Cup  and  cover  in  the  shape  of  a  lotus  flower.  Buff  porcelanous 
ware  covered  with  white  glaze. 

T’u  Ting  ware:  Sung  dynasty. 

H.  3  in.  D.  3  in. 

71  Cup  with  rounded  sides  on  tall  foot.  White  porcelanous  earth 
with  thin  glaze  beautifully  crackled. 

Kiangnan  ware:  Sung  dynasty. 

H.  2  in.  D.  5 in. 

72  Six-lobed  bowl  of  white  porcelanous  earth  covered  with  white 
glaze,  green  where  it  has  run  thick;  transparent. 

Pai  Ting  type:  Sung  dynasty. 

H.  in.  D.  5  in. 

73  Cup-stand  of  ovoid  body  on  saucer  with  a  high  foot.  Fine 
porcelanous  earth  covered  with  a  thin  creamy  glaze,  tear  drops 
under  the  saucer. 

Pai  Ting  ware:  Sung  dynasty. 

H.  3  $4  in.  D.  4 y2  in. 

74  Small  bowl  of  conical  form  with  straight  sides.  Buff-white  ware 
with  ornament  of  archaic  lotus  flowers  moulded  in  relief  be¬ 
neath  a  finely  crackled  yellow  glaze.  Copper  band  over 
the  mouth  rim. 

T’u  Ting  ware:  Sung  dynasty. 

H.  1  %  in.  D.  4  in. 

75  Small  bowl  with  rounded  sides.  Yellowish  white  stoneware 
covered  with  white  slip  and  a  transparent  glaze,  leaving  a  ring 
at  the  bottom  of  the  cup  uncovered. 

Ting  ware:  Yuan  dynasty. 

H.  1  in.  D.  3  in. 

76  Cup  in  form  of  six-petaled  flower.  Translucent  fine  white  ware 
covered  with  creamy  white  glaze. 

Pai  Ting  type:  Sung  dynasty. 

H.  1  in.  D.  \y2  in. 


[16] 


TING  WARE 


77  Small  bowl  with  rounded  sides,  moulded  in  form  of  lotus 
flower.  White  porcelanous  ware  covered  with  grayish  white 
glaze.  Mouth  rim  fitted  with  copper  band. 

Pai  Ting  ware:  Sung  dynasty. 

H.  in.  D.  3  24  in. 

78  Basin  with  wide  mouth,  gently  curving  sides,  and  flat  base. 
Ivory-white  glaze;  “tear-marks”  on  the  exterior.  The  unglazed 
mouth  rim  is  fitted  with  a  silver  band.  Ornamented  with 
boldly  carved  lotus  scrolls  inside  and  out. 

T’u  Ting  ware:  Sung  dynasty. 

H.  \]/2  in.  D.  924  in. 

79  Seated  figure  of  white-buff  ware  covered  with  yellow  glaze. 
Ting  ware:  Yuan  dynasty. 

H.  14  in.  D.  9 >4  in. 

80  Basin  with  wide  mouth  and  gently  curving  sides.  Covered  with 
ivory-white  glaze;  unglazed  mouth  rim  fitted  with  copper 
band.  Inside  ornamented  with  boldly  carved  lotus  scrolls. 
T’u  Ting  ware:  Sung  dynasty. 

H.  \]/2  in.  D.  io>4  in. 

81—82  Two  dishes,  small,  flat,  six-lobed;  white  porcelanous  ware, 
thinly  potted,  transparent,  and  covered  with  unctuous  trans¬ 
parent  glaze;  fired  upside  down,  rims  unglazed. 

Ting  ware:  Sung  dynasty. 

H.  in.  D.  34^  in. 

83  Ladle,  the  rim  covered  with  copper.  Covered  with  creamy 
white  glaze. 

T’u  Ting  type:  probably  Sung  dynasty. 

L.  424  in. 

84  Small  vase  of  globular  form  with  long,  straight  neck,  flaring 
lip,  and  high  foot.  On  the  body  are  two  dancing  figures  which 
serve  as  handles;  white  porcelanous  ware  covered  with  a  thick 
unctuous  glaze. 

Ting  ware:  attributed  to  Sung  dynasty. 

H.  6  in.  D.  3  in. 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


85  Small  pilgrim  bottle  of  buff-colored  stoneware  covered  with 
white  slip  and  thick  yellowish  glaze.  Moulded  pattern  of 
phoenix. 

Fen  Ting  ware:  Sung  dynasty. 

H.  in.  D.  5 in. 

86  Seated  figure  of  Kuan  Yin,  in  her  diadem  a  small  figure  of 
Buddha  on  a  lotus.  Fine  white  porcelanous  paste  covered 
with  a  transparent  crackled  glaze. 

Sung  dynasty. 

H.  in.  W.  \Y,  in. 


[18] 


TZ’U-CHOU  WARE 


87  Baluster-shaped  vase  with  small  neck.  Hard  buff  ware  covered 
with  white  slip  and  green  transparent  glaze. 

Tz’u-chou  type:  Sung  dynasty. 

H.  I52<  in.  D.  jy2  in. 

88  Jar  with  ovoid  body,  short  neck,  and  low,  cup-shaped  mouth. 
Hard  buff  ware  decorated  with  flowers  in  white  slip  under  a 
coyer  of  green,  finely  crackled  glaze  partly  gone  and  leaving  a 
thin,  transparent  coating.  The  earth  where  it  is  not  covered 
with  slip  shines  through  gray.  Beautiful  iridescent  spots  where 
the  glaze  has  deteriorated. 

Tz’u-chou  type:  T’ang  dynasty. 

H.  157^  in.  D.  8y  in. 

89  Vase  of  slender  baluster  form  with  tall,  narrow  neck  and  wide, 
saucer-shaped  mouth  with  flat  sides.  Grayish  white  porce- 
lanous  ware  with  white  slip  which  stops  in  an  uneven  line  above 
the  base,  and  a  smooth  grayish  white  glaze;  graffito  ornament 
showing  white  against  a  mouse-gray  ground.  On  the  body  is  a 
bold  floral  scroll  with  etched  details,  and  on  the  shoulder  is  a 
foliage  scroll.  There  is  a  band  of  wheel-made  lines  in  the 
middle  of  the  neck. 

Tz’u-chou  ware:  Sung  dynasty. 

H.  20  in.  D.  7X  in. 

90  Pear-shaped  vase  with  spreading  neck.  Buff  stoneware  cov¬ 
ered  with  white  slip  and  thin,  transparent  glaze.  The  slip  is 
cut  away  in  three  bands  of  phoenix  and  cloud  design  and 
ornamental  leaves. 

Tz’u-chou  ware:  Sung  dynasty. 

H.  127!  in.  D.  7  in. 

[  19  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


91  Slender,  pear-shaped  vase:  hard  gray  porcelanous  ware  covered 
with  white  slip  and  transparent  glaze,  the  slip  partly  etched 
away  to  leave  a  large  floral  design  on  a  gray  background. 
Tz’u-chou  ware:  Sung  dynasty. 

H.  14  in.  D.  6  in. 

92  Pear-shaped  bottle:  reddish  buff  stoneware  covered  with  slip 
which  is  etched  away  to  form  the  decoration;  a  floral  design 
arranged  in  two  broad  bands,  and  one  narrow  horizontal  band; 
at  the  base  a  design  of  formal  leaves. 

Tz’u-chou  ware:  Sung  dynasty. 

H.  in.  D.  7  in. 

93  Vase  of  slender  oval  form  with  small  neck  and  conical  mouth. 
Gray  stoneware  coated  with  white  slip  over  which  is  a  colorless 
glaze  minutely  crackled.  Graffito  ornament  in  three  broad 
bands.  In  the  central  band  is  a  bold  foliage  scroll  with  the 
background  cut  away  and  etched  details  showing  white  against 
a  mouse-colored  ground:  below  this  is  a  formal  pattern  of 
Vandykes  and  arches  with  slashed  lines  between;  and  on  the 
shoulder  is  a  foliage  scroll  with  etched  outlines  and  details, 
the  background  powdered  with  small,  impressed  circles. 
Tz’u-chou  ware:  Sung  dynasty. 

H.  18^2  in.  D.  8  in. 

94  Vase  of  slender  oval  form  with  small  mouth.  Buff  stoneware 
with  a  coating  of  solid  white  slip  and  a  creamy  white  glaze, 
boldly  painted  with  belts  of  ornament  in  black.  On  the  sides 
is  a  broad  band  of  floral  scroll;  below  it  a  narrower  band  with 
three  foliage  sprays,  which  is  repeated  on  the  shoulder:  stiff 
leaves  round  the  foot.  The  glaze  is  shrunk  in  shallow  wrinkles 
on  the  upper  part. 

Tz’u-chou  ware:  Sung  dynasty. 

H.  16^6  in.  D.  iy2  in. 

95  Vase,  slender  with  narrow,  short  neck;  hard  gray  porcelanous 
stoneware  covered  with  white  slip  and  thin,  transparent  glaze; 
slip  etched  away,  leaving  a  broad  band  of  floral  ornament,  with 
a  narrower  band  below;  at  the  base  formal  leaves. 

Tz’u-chou  ware:  Sung  dynasty. 

H.  18  in.  D.  in. 


[20] 


TZ’U-CHOU  WARE 

96  Vase  with  pear-shaped  body,  high  broad  shoulders,  short 
contracted  neck,  and  wide  mouth.  Reddish  stoneware.  The 
design  executed  in  graffito  etching  through  a  wash  of  thin  black, 
the  incisions  disclosing  the  white  slip  beneath.  The  figures  in 
the  panels  in  this  case  represent  three  sages — one  looking  at  a 
lotus  in  a  pool,  another  pointing  to  a  skeleton  on  the  ground, 
and  the  third  standing  before  a  blossoming  tree:  in  each  panel 
are  rocks  and  bamboos  and  clouds  floating  above.  The  belts 
of  ornament  are  separated  by  white  bands  painted  with  concen¬ 
tric  rings  in  black. 

Tz’u-chou  ware:  Yuan  dynasty. 

H.  1276  in.  D.  ii;Ms  in. 

97  Pillow.  Hard  gray  stoneware  covered  with  white  slip  and 
transparent  glaze.  Decorated  in  brownish  black  with  the 
figures  of  a  sage  and  a  stork;  on  the  front  and  ends  are  floral 
designs.  Impressed  mark  on  bottom. 

Tz’u-chou  ware:  Sung  dynasty. 

H.  in.  L.  12  in. 

98  Pdlow  in  the  shape  of  a  tiger.  Hard  gray  stoneware  covered 
with  thick  white  glaze  and  decorated  in  black. 

Tz’u-chou  ware:  Sung  dynasty. 

H.  in.  L.  \oyi  in. 

99  Vase  of  slender  ovoid  form  with  short  neck  and  flattened  lip. 
Buff  stoneware  covered  with  white  slip  which  has  been  etched 
away  and  filled  in  with  purplish  black  to  form  a  floral  scroll  in 
two  horizontal  bands.  The  background  is  covered  with  small 
circles.  At  the  base  is  an  incised  design  of  tall  leaves. 

Tz’u-chou  ware:  Sung  dynasty. 

H.  i6>£  in.  D.  in. 

100  Vase  of  pear  shape.  Hard  gray  stoneware  covered  with 
white  slip  and  a  transparent  thin  glaze  decorated  with  iron- 
red,  green  enamel,  and  gray-black.  The  main  design  is  a  broad 
band  containing  three  pointed  quatrefoils,  two  containing 
figures  and  boats,  the  third  a  formal  floral  design;  on  the 
shoulder  is  floral  ornament  and  around  the  base  a  design  of 
formal  floral  leaves;  the  inside  is  enameled  black. 

Tz’u-chou  ware:  Sung  dynasty. 

H.  12^  in.  D.  13  in. 


[21] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


101  Vase  of  slender  oval  form  with  small  mouth.  The  neck  is  cut 
off.  Buff  stoneware  with  a  coating  of  solid  white  slip  and 
transparent  crackled  glaze,  boldly  painted  in  red  with  scenes 
representing  two  figures  making  offerings  to  a  figure  on  a  lotus 
throne.  Stiff  leaves  around  the  foot.  On  the  shoulder  is  a 
formal  foliage  scroll.  The  background  covered  with  small 
circles. 

Tz’u-chou  ware:  Sung  dynasty. 

H.  in.  D.  724  in. 

102  Dish  of  dark  buff  ware  covered  with  white  slip  and  trans¬ 
parent,  finely  crackled  glaze.  Decorated  with  flowers  in  iron- 
red,  green,  and  yellow  enamels. 

Tz’u-chou  ware:  Sung  dynasty. 

H.  i  in.  D.  6^4  in. 

103  Dish;  circular,  flat,  with  upturned  rim.  Grayish  white  stone¬ 
ware,  covered  with  a  white,  finely  crackled  glaze  and  decorated 
with  the  phoenix  amid  flowers  and  leaves  outlined  in  iron-red 
on  a  background  of  green  enamel  and  surrounded  by  green 
and  yellow  enamel  bands. 

Tz’u-chou  ware:  Sung  dynasty. 

H.  24  in.  D.  8  in. 

104  Bowl,  deep  and  cylindrical.  Gray  stoneware  covered  with 
slip  and  a  transparent  glaze  and  decorated  with  iron-red, 
green,  and  yellow  enamels. 

Tz’u-chou  ware:  Sung  dynasty. 

H.  3  24  in.  D.  42^  in. 

105  Bowl  of  conical  shape  and  slightly  rounded  sides.  Of  buff 
stoneware  with  double  slip  cover  and  transparent  glaze  and 
decorated  with  flowers  in  iron-red  and  green  enamel. 
Tz’u-chou  ware:  Sung  dynasty. 

H.  2 >4  in.  D.  62^  in. 

106  Vase  with  pear-shaped  body,  high  broad  shoulders,  short 
contracted  neck,  and  wide  mouth:  a  wide  flange  at  the  base. 
Reddish  stoneware  with  wash  of  white  slip  and  transparent 
glaze.  Painted  ornament  in  black  with  touches  of  orange 
slip  under  the  glaze.  The  main  design  is  a  broad  band  con- 

[  22  ] 


TZ’U-CHOU  WARE 

taining  three  pointed  quatrefoil  panels  with  figure  subjects: 
(i)  a  garden  terrace  with  a  seated  personage  and  an  attendant 
giving  him  wine;  (2)  a  similar  figure  reclining  in  a  garden  under 
a  fruit-laden  tree;  and  (3)  an  interior  with  a  man  sleeping. 
The  spaces  are  filled  with  scrollwork.  On  the  shoulder  is  a 
broad  belt  of  foliage  scrolls  with  four  large  flowers  at  even 
intervals;  and  there  are  narrow  borders  of  key-fret,  Vandyke, 
and  scroll  patterns,  and  a  band  of  false  gadroons  on  the  foot. 
The  base  is  edged  with  a  broad  black  band. 

Tz’u-chou  ware:  Yuan  dynasty. 

H.  13^  in.  D.  11X  in. 

107  Bulbous  vase  with  long,  spreading  neck  of  gray  stoneware 
covered  with  white  slip  and  yellowish  finely  crackled  glaze. 
Inside  the  neck  is  covered  with  green  glaze. 

Tz’u-chou  type:  Sung  dynasty. 

H.  19  in.  D.  10  in. 

108  Vase  with  pear-shaped  body,  high  broad  shoulders,  short 
contracted  neck,  and  wide  mouth;  a  wide  flange  at  the  base. 
Reddish  stoneware  covered  with  white  slip;  painted  orna¬ 
ment  in  brown  with  touches  of  orange  slip.  The  main  design 
is  a  broad  band  with  three  pointed  quatrefoil  panels,  two  of 
which  contain  each  a  stork;  the  band  on  the  shoulder  contains 
floral  ornament;  around  the  base  is  a  band  of  false  gadroons. 
Tz’u-chou  ware:  Sung  dynasty. 

H.  13^  in.  D.  12  in. 

109  Figure  of  Kuan  Yin.  Hard  porcelanous  stoneware,  decorated 
with  white  and  red  slip  and  outlined  with  black  under  a  trans¬ 
parent  glaze. 

Tz’u-chou  ware:  Yuan  dynasty. 

H.  11^  in. 

no  Vase,  slender,  with  small  neck  and  four  handles.  Dark  buff 
stoneware  covered  with  white  slip  over  reddish  slip  under  a 
thin,  transparent  glaze;  the  lower  half  is  covered  with  dark 
brown  glaze;  on  the  upper  half  are  Chinese  characters  in 
brown. 

Tz’u-chou  ware:  Sung  dynasty. 

H.  10  in.  D.  4 in. 


[23] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


111  Vase  of  reddish  buff  clay  covered  with  white  slip  and  colorless 
transparent  glaze.  Decorated  with  a  conventional  flower 
design  of  gray-green  under  the  glaze  and  an  inscription  in  an 
upright  panel  at  one  side.  Lip  and  foot  cut  off. 

Tz’u-chou  ware:  Sung  dynasty. 

H.  5^4  in.  D.  4^  in. 

1 12  Vase  of  conical  shape  with  short,  round  neck  and  sloping  lip. 
Light  yellowish  stoneware  covered  with  white  slip  and  thin, 
transparent  glaze.  The  slip  is  cut  away  in  four  bands  of  floral 
decoration,  the  background  being  formed  by  the  glazed  earth 
of  the  vase. 

Tz’u-chou  ware. 

H.  nX  in.  D.  4 y2  in. 


CHUN  WARE 


1 13  Deep  bowl  of  globular  form  slightly  contracted  at  the  mouth; 
small  foot.  Gray  porcelanous  ware  with  beautiful  opalescent 
glaze  of  pale  lavender-blue  sown  with  faint  greenish  points 
and  ending  in  a  billowy  roll  at  the  base.  Glaze  under  the 
foot  and  an  unglazed  patch  inside. 

Chun  ware:  Sung  dynasty. 

H.  Gyi  in.  D.  7  >4  in. 

1 14  Deep  bowl  of  globular  form  slightly  contracted  at  the  mouth; 
small  foot.  Gray  porcelanous  ware  with  opalescent  glaze  of 
pale  lavender-blue  ending  in  billowy  line  at  the  base.  Glaze 
under  the  foot  and  an  unglazed  patch  inside. 

Chiin  ware:  Sung  dynasty. 

H.  524  in.  D.  724  in. 

1 15  Bowl  of  conical  form  with  small  foot  and  contracted  mouth. 
Buff  porcelanous  ware  with  pitted  opalescent  glaze  of  green¬ 
ish  gray  faintly  streaked;  where  the  glaze  has  run  thick  at 
the  rim,  olive-gray  shows.  The  foot  is  washed  with  thin  olive- 
gray  glaze  and  has  a  patch  of  the  general  gray  glaze. 

Chiin  ware:  Sung  dynasty. 

H.  324  in.  D.  524  in. 

11 6  Bowl  of  conical  shape  with  rounded  sides.  Hard,  reddish  buff 
ware  covered  with  a  finely  speckled  and  crackled  greenish 
blue,  opalescent  glaze,  brown  where  the  glaze  has  run  thin. 
Chiin  ware:  Sung  dynasty. 

H.  3>4  in.  D.  524  in. 

1 17  Bowl  of  globular  form,  slightly  contracted  at  the  mouth; 
small  foot.  Gray  porcelanous  ware  burnt  red-brown  at  the 
foot  and  on  the  mouth  rim,  which  are  both  bare.  Smooth 

[25] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


opalescent  glaze  of  exquisite  moon-white  color  passing  into 
pale  lavender.  A  patch  of  glaze  under  the  foot. 

Kuan  ware:  Sung  dynasty. 

H.  4 yi  in.  D.  in. 

1 18  Bowl  of  conical  form  with  small  foot  and  slightly  contracted 
mouth.  Porcelanous  ware  burnt  reddish  brown  at  the  base. 
Thick  opalescent  glaze  heavily  bubbled  on  the  upper  parts 
and  irregularly  crackled,  the  color  deep  lavender-gray  with 
light  brown  flecks  here  and  there  and  a  flush  of  purple  on  the 
upper  part  of  the  exterior.  A  patch  of  glaze  under  the  base. 
Chun  ware:  Sung  dynasty. 

H.  3^  in.  D.  6  in. 

1 19  Flower  pot  with  globular  bowl,  high  neck,  flaring  mouth,  and 
low  foot  slightly  spreading.  Gray  porcelanous  ware  with 
smooth  opalescent  glaze  freely  crackled  and  parted  here  and 
there  with  “earthworm”  markings.  The  color  is  lavender 
finely  flecked  with  gray  and  deepening  into  purple  on  the 
bowl:  the  edges  are  olive.  The  base  is  washed  with  olive- 
brown,  incised  with  the  numeral  i,  —  (one),  and  pierced  with 
five  holes. 

Chun  ware:  Sung  dynasty. 

H.  io}4  in.  D.  io}4  in.  D.  of  base,  in. 

120  Bulb  bowl  of  bronze  form  with  three  cloud-scroll  feet:  the 
exterior  is  bordered  by  two  rows  of  studs,  the  upper  row 
inclosed  by  raised  bands.  Grayish  white  porcelanous  ware 
with  opalescent  glaze  irregularly  crackled.  An  olive  tint 
appears  on  the  salient  parts  where  the  glaze  is  thin,  but  over 
the  rest  of  the  surface  the  color  is  a  misty  lavender-gray,  more 
opaque  and  gray  inside,  but  slightly  suffused  with  purple  on 
the  exterior.  The  base  is  washed  with  olive-brown  and  incised 
with  the  numeral  san,  Z  (three),  and  it  has  a  ring  of  spur- 
marks. 

Chun  ware:  Sung  dynasty. 

H.  317  in.  D.  9  in. 

1 21  Bulb  bowl,  or  flower-pot  stand,  moulded  in  six  shaped  lobes 
and  flanged  at  the  mouth  with  a  six-foil  rim:  three  cloud-scroll 
feet.  Gray  porcelanous  ware  with  opalescent  glaze  which 
flows  away  from  the  salient  parts,  leaving  them  a  pale  gray- 

[26] 


CHUN  WARE 


olive  color.  The  inside  is  blue-lavender  dappled  with  grayish 
white  and  broken  by  numerous  “earthworm”  markings.  The 
color  outside  is  the  same,  showing  slight  touches  of  purple. 
The  base  is  washed  with  reddish  olive-brown  and  incised  with 
the  numeral  wu,  *  (five);  and  it  has  a  ring  of  slight  spur- 
marks. 

Chun  ware:  Sung  dynasty. 

H.  2-Hs  in.  D.  8 $4  in. 

122  Bulb  bowl  of  bronze  form  with  three  cloud-scroll  feet:  bor¬ 
dered  on  the  exterior  with  two  rows  of  studs,  the  upper  row 
inclosed  by  raised  bands.  Grayish  white  porcelanous  ware 
with  finely  mottled  opalescent  glaze  of  misty  gray  color 
clouded  with  lavender  and  pale  olive-green:  the  latter  color 
appears  where  the  glaze  has  run  thin  on  the  salient  parts. 
The  base  is  washed  with  olive-brown  and  incised  with  the 
numeral  i,  —  (one),  and  it  has  a  ring  of  spur-marks. 

Chun  ware:  Sung  dynasty. 

H.  in-  D.  ioy£  in. 

123  Bulb  bowl,  or  flower-pot  stand,  moulded  in  six  shaped  lobes 
with  flanged  rim  in  six-foil  form  and  three  cloud-scroll  feet. 
Gray  porcelanous  ware  with  opalescent  glaze.  The  salient 
parts  where  the  glaze  is  thin  are  a  pale  olive  color.  The  inside 
is  a  bluish  lavender  dappled  with  greenish  white  and  broken 
by  very  numerous  “earthworm”  markings.  The  color  outside 
is  the  same,  broken  by  the  rounded  contours  of  the  moulding. 
The  base  is  washed  with  olive-brown  with  a  few  red  splashes 
and  incised  with  the  numeral  i,  —  (one). 

Chun  ware:  Sung  dynasty. 

H.  3  yi  in.  D.  9 y2  in. 

124  Beaker-shaped  vase  of  bronze  form  with  cylindrical  body, 
spreading  foot,  and  high,  spreading  neck  ornamented  with 
vertical  ribs,  the  remains  of  the  bronze  prototype.  Gray 
porcelanous  ware  covered  with  greenish  white,  finely  crackled 
glaze  much  pitted  by  air  bubbles;  the  paste  shows  a  buff  color 
where  the  glaze  has  run  thin.  The  foot  is  covered  with  a  thin 
wash  of  bluish  glaze. 

Chun  ware:  Sung  dynasty. 

H.  8}i  in.  D.  in. 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


125  Flower  pot  of  oblong,  hexagonal  form  with  straight  sides 
gently  tapering  toward  the  base,  which  is  supported  by  six 
small  cloud-scroll  feet:  narrow,  flat  flange  at  the  mouth. 
Grayish  white  porcelanous  ware  with  finely  striated  opalescent 
glaze  of  pale  purplish  color,  heavily  streaked  with  opaque 
milky  gray  on  the  upright  surfaces  and  dappled  with  the  same 
color  on  the  flat  parts.  “Earthworm”  markings  on  the 
bottom  inside,  and  seven  holes  in  the  base.  The  salient  parts, 
where  the  glaze  is  thin,  are  of  a  pale  olive  color.  The  base  has 
brown  glaze  overrun  with  lavender  and  gray,  and  a  ring  of 
spur-marks;  and  the  numeral  ssu,  <n>  (four),  is  incised  inside 
one  of  the  feet. 

Chun  ware:  Sung  dynasty. 

H.  6  in.  L.  10 yi  in.  B.  in. 

126  Flower  pot  of  deep  bowl  form  moulded  in  six  shaped  lobes 
and  flanged  at  the  mouth  with  a  six-foil  rim.  Grayish  white 
porcelanous  ware  with  opalescent  gray  glaze  shot  with  faint 
violet  and  shading  off  into  pale  olive  at  the  edges  of  the  mould¬ 
ings.  The  base  is  washed  with  olive-brown  and  incised  with 
the  numeral  zvu,  *  (five). 

Chun  ware:  Sung  dynasty. 

H.  6^i  in.  D.  9^  in. 

127  Part  of  beaker-shaped  vase  of  bronze  type;  of  gray  porcelan¬ 
ous  ware  covered  with  opalescent  light  blue-green  glaze, 
frothy  on  the  neck,  beautifully  transparent  and  streaked  with 
green-gray  on  the  body.  The  paste  where  the  glaze  has  run 
thin  shows  a  light  olive  color. 

Chun  ware:  Sung  dynasty. 

H.  4 in.  D.  5  in. 

128  Flower-pot  stand  of  oblong,  rectangular  form  with  notched 
corners,  straight  sides,  flanged  rim,  and  four  small  cloud- 
scroll  feet.  Grayish  white  porcelanous  ware  with  opalescent 
glaze  irregularly  crackled  and  parted  with  “earthworm” 
markings.  The  color  is  a  misty  lavender-gray  with  passages  of 
milky  white,  passing  into  pale  olive  where  the  glaze  has  run 
thin.  The  base  is  washed  with  olive-brown  and  incised  with 
the  numeral  shih,  -fi  (ten),  and  it  has  a  ring  of  spur-marks. 
Chiin  ware:  Sung  dynasty. 

H.  2  in.  L.  7  in. 


[28] 


CHUN  WARE 


129  Bowl  of  conical  form  with  small  foot  and  slightly  contracted 
mouth.  Gray  porcelanous  ware  burnt  rusty  red  on  the  base 
rim.  Smooth  opalescent  glaze  faintly  crackled  and  of  pale 
lavender-gray  color.  Glaze  under  the  base. 

Chiin  or  Kuan  ware:  Sung  dynasty. 

H.  4 Yi,  in.  D.  8^4  in. 

130  Bowl  with  small  foot  and  slightly  contracted  mouth.  Grayish 
white  porcelanous  ware  with  smooth  opalescent  glaze  of  dove- 
gray  color  faintly  tinged  with  lavender.  Glaze  under  the  base. 
Chiin  or  Kuan  ware:  Sung  dynasty. 

H.  in.  D.  8^4  in. 

13 1  Bowl  of  conical  form,  with  rounded  sides  and  slightly  con¬ 
tracted  rim  of  gray-white  porcelanous  ware  covered  with  light 
blue-gray  opalescent  glaze  mottled  and  streaked  with  greenish 
white.  At  the  rim  where  the  glaze  runs  thin  the  paste  shows 
through  olive-gray.  The  foot  is  washed  with  reddish  olive 
glaze  and  has  a  patch  of  blue  glaze  in  the  center. 

Chiin  ware:  Sung  dynasty. 

H.  4  in.  D.  9  in. 

132  Dish  with  narrow,  flanged  rim.  Gray  porcelanous  ware 
covered  entirely  with  a  crackled  opalescent  glaze  of  pale 
lavender  tint,  frosted  over  in  places  with  a  brownish  film 
broken  here  and  there  by  “earthworm”  marks.  Five  spur- 
marks  under  the  base. 

Chiin  ware:  Sung  dynasty. 

D.  7 in. 

133  Plate  of  grayish  white  porcelanous  ware  covered  with  a  bluish 
green  opalescent  crackled  glaze;  where  the  glaze  runs  thin  at 
the  rim  the  paste  shows  through  pinkish  gray.  The  foot  rim 
is  washed  with  reddish  olive  glaze  and  the  base  is  covered  with 
the  general  glaze.  Three  spur-marks. 

Chiin  ware:  Sung  dynasty. 

H.  1  yi  in.  D.  7  in. 

134  Vase  of  baluster  form,  shaped  in  four  lobes;  high  shoulders 
and  small  neck.  Reddish  buff  ware  with  thick  opalescent 
turquoise  glaze  lightly  crackled  and  much  deteriorated;  on 
the  shoulders  two  bright  purple  splashes. 

Soft  Chiin  type:  Yiian  dynasty. 

H.  8  in.  D.  4  in. 


[29] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


135  Vase  of  baluster  form,  shaped  in  four  lobes:  high  shoulders 
and  small  mouth.  Reddish  buff  ware  with  thick  opalescent 
turquoise  glaze  lightly  crackled  and  almost  entirely  trans¬ 
muted  into  dull  purple,  which  is  broken  here  and  there  by 
“earthworm”  markings. 

Soft  Chun  type:  probably  Sung  dynasty. 

H.  6yi  in.  D.  3  in. 

136  Bowl  of  globular  form,  with  straight  sides  and  slightly  con¬ 
tracted  at  the  mouth.  Reddish  buff  stoneware  covered  with  a 
thick  turquoise  crackled  glaze  on  the  inside,  and  on  the  out¬ 
side  a  rich  purple  glaze  fading  into  light  brown  where  at  the 
rim  the  glaze  runs  thin.  The  inside  of  the  foot  is  covered  with 
a  finely  crackled  turquoise  glaze. 

Soft  Chun  ware:  Sung  dynasty. 

H.  2*4  in.  D.  in. 

137  Small,  twelve-lobed  bulb  bowl  resting  on  six  cloud-scroll  feet. 
Gray  porcelanous  ware  glazed  inside  with  a  turquoise-blue 
finely  crackled  and  partly  deteriorated  glaze.  The  flat  border 
and  the  exterior  are  covered  in  mottled  purple,  and  the  base 
is  covered  with  turquoise-blue  and  incised  with  the  numeral 
san,  Z  (three). 

Soft  Chun  ware:  Yuan  dynasty. 

H.  2  in.  D.  7  in. 

138  Small  vase  of  bulbous  shape  with  wide,  spreading  mouth  and 
three  knobs  on  the  neck,  of  buff-  porcelanous  earth  burned 
reddish  and  covered  with  greenish  white  regularly  crackled 
glaze  which  has  slight  crimson  splashes.  Base  inside  covered 
with  the  same  finely  crackled  glaze. 

Soft  Chun  ware:  Sung  dynasty. 

H.  in.  D.  2y2  in. 

139  Vase  with  depressed  globular  body,  short  neck,  and  projecting 
lip,  decorated  with  finely  moulded  lotus  flowers  and  tall 
leaves  round  the  neck.  Buff  hard  stoneware  covered  with  a 
rich  but  thin  brown-black  glaze,  the  design  showing  in 
brown  lines  where  the  glaze  has  run  thin  on  the  sharp  edges 
of  the  mouldings.  The  inside  is  covered  with  a  beautiful 
greenish  yellow  glaze  finely  crackled  and  the  inside  of  the  foot 
rim  shows  the  same  glaze,  but  coarser  and  greener. 

Chun  type:  probably  Sung  ware. 

H.  2H  in.  D.  2^4  in. 


[30] 


CHUN  WARE 


140  Vase  with  globular  body,  and  short  neck  expanding  into  a 
wide,  flat  flange  at  the  mouth.  Reddish  buff  ware  with  thick 
opalescent  glaze  faintly  crackled,  the  color  dull  turquoise 
with  passages  of  lavender  and  shading  off  into  dull  purplish 
tone  on  the  sides.  The  glaze  on  the  mouth  rim  is  deeply 
flawed  by  the  bursting  of  bubbles. 

Soft  Chun  type:  probably  Sung  ware. 

H.  g^i  in.  D.  10^  in. 

141  Water  pot,  melon-shaped  with  five  lobes;  small  mouth,  short 
spout,  and  loop  handle  with  a  bud-shaped  thumb-piece. 
Reddish  buff  ware  with  thick  opalescent  turquoise  glaze, 
lightly  crackled  and  breaking  into  crimson  on  the  lower  parts. 
Soft  Chun  type:  probably  Sung  dynasty. 

H.  3  yi  in.  D.,  with  spout  and  handle,  3X  in. 

142  Cup  on  high  stem  of  buff  stoneware  burned  reddish  brown 
and  covered  inside  with  a  gray-green  glaze  with  two  crimson 
blotches.  The  outside  is  evenly  covered  with  crimson  grading 
off  to  green-gray  and  ending  in  a  billowy  line  near  the  base. 
The  foot  inside  is  uncovered. 

Soft  Chun  ware:  Sung  dynasty. 

H.  2^  in.  D.  3^  in. 

143  Water  dropper  in  form  of  a  squatting  hen  with  one  chicken  on 
its  back  and  the  head  of  another  appearing  from  under  its 
wing:  cleverly  modeled.  Soft  reddish  buff  ware  with  opaque 
crackled  glaze  of  white  color  faintly  tinged  with  turquoise, 
broken  here  and  there  by  small  splashes  of  dark  ruby-red. 
The  glaze  is  much  decayed,  and  incrusted  with  a  brownish 
film,  and  shows  an  occasional  iridescence.  There  is  an  oval 
opening  in  the  back,  and  the  beak  is  pierced  to  serve  as  a 
spout. 

Soft  Chun  type:  Sung  dynasty. 

H.  6  in.  L.  6*4  in. 

144  Vase  with  globular  body  and  short,  narrow  neck  slightly  taper¬ 
ing  upward.  Buff  ware  with  thick  opalescent  turquoise  glaze 
lightly  crackled. 

Soft  Chun  type:  Sung  dynasty. 

H.  4  in.  D.  3  *4  in. 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


145  Vase  of  ovoid  shape  with  long,  spreading  neck,  the  foot  pierced 
in  five  places.  Reddish  porcelanous  ware  covered  with  a  finely 
crackled  blue  glaze  mottled  with  purple,  which  covers  the 
base  and  fills  up  two  of  the  perforations  in  the  foot. 

Soft  Chun  ware:  Sung  dynasty. 

H.  in.  D.  2  in. 

146  Vase  of  baluster  form,  shaped  in  four  lobes:  high  shoulders 
and  small  neck.  Reddish  buff  ware  with  thick  opalescent  tur¬ 
quoise  glaze  lightly  crackled  and  shading  off  into  faint  purple 
on  one  side.  Two  curious  pointed  oval  depressions  appear  on 
the  other  side,  caused  by  the  bursting  of  air  bubbles. 

Soft  Chun  type:  probably  Sung  dynasty. 

H.  8*4  in.  D.  4 in. 

147  Vase  of  globular  form,  the  exterior  moulded  like  a  lotus  flower 
with  raised  petals.  Dark  gray  stoneware  burnt  reddish  brown 
on  the  base  and  the  inside,  which  are  both  unglazed.  Closely 
crackled,  milky  gray  glaze,  which  is  darkened  on  the  salient 
parts  by  the  body-color  beneath  it.  The  base  shows  the  im¬ 
pression  of  a  circular  support. 

Sung  dynasty. 

H.  7  in.  D.  9>^in. 

148  Vase  with  pear-shaped  body,  the  lower  part  moulded  with 
slightly  raised  lotus  petals:  contracted  neck  and  spreading 
mouth  with  raised  studs  suggesting  the  seed-pod  of  the  lotus. 
Buff  stoneware  with  thick  opalescent  glaze  minutely  crackled, 
and  of  turquoise  color  passing  into  lavender  and  sky  blue  and 
fading  into  a  dull  purple  on  the  sides. 

Soft  Chun  type:  probably  Sung  dynasty. 

H.  14X  in.  D.  8X  in- 

149  Baluster-shaped  vase  with  short  neck  of  light  buff  stoneware 
covered  with  opalescent  gray-green  glaze  streaked  with  blue 
and  splashed  with  purple  and  crimson. 

Chun  ware:  Yuan  dynasty. 

H.  I2y£  in.  D.  6^/i  in. 

150  Incense  vase  with  three  feet,  globular  body,  short,  straight 
neck  with  flanged  mouth,  and  two  upright,  rectangular  handles 
with  attachments  of  dragon  form.  Dark  gray  stoneware  burnt 

[32] 


CHUN  WARE 


brown  in  the  unglazed  parts,  with  thick  flowing  glaze,  faintly 
crackled,  which  ends  in  a  billowy  line  without  entirely  cover¬ 
ing  the  base  and  the  feet.  Applied  relief  ornaments  overrun 
by  the  glaze,  but  apparently  consisting  of  two  tiger-masks 
on  the  sides  and  four  rosettes  on  the  neck.  The  glaze  is  opal¬ 
escent  and  of  pale  lavender  or  clair-de-lune  color  shot  with 
grayish  white  and  flushing  in  parts  with  a  warm  purplish 
tinge. 

Chiin  type:  Sung  or  Yuan  dynasty. 

H.  8Y  in.  D.  yY  in. 


15 1  Vase  with  pear-shaped  body  and  tall,  spreading  neck.  Lower 
part  moulded  with  raised  lotus  petals.  Buff-  stoneware  with 
opalescent  glaze,  minutely  crackled  and  of  turquoise  color 
passing  into  reddish  brown  where  the  glaze  has  run  thin. 
Soft  Chiin  type:  probably  Yuan  dynasty. 

H.  jyi  in.  D.  3^  in. 


152  Vase  with  pear-shaped  body,  the  lower  part  moulded  with 
slightly  raised  lotus  petals:  contracted  neck  and  spreading 
mouth  with  raised  studs,  suggesting  the  seed-pod  of  the  lotus. 
Buff  stoneware  with  opalescent  glaze  minutely  crackled,  and  of 
turquoise  color  passing  into  lavender  and  sky  blue  and  fading 
into  a  purplish  brown. 

Soft  Chiin  type:  probably  Sung  dynasty. 

H.  6  in.  D.  in. 


153  Incense-burner  with  globular  body,  straight  neck,  and  flanged 
mouth.  Light  buff  porcelanous  ware  with  thick  crackled  glaze 
of  turquoise-green  and  dark  purple,  ending  in  a  billowy  line, 
the  bottom  and  legs  covered  thinly  with  the  purple  glaze. 
Soft  Chiin  ware:  Sung  dynasty. 

H.  4  in.  D.  \Y^  in. 


154  Vase  of  baluster  form  with  high  shoulder  and  small  mouth. 
Reddish  buff  ware  with  crackled  turquoise  glaze  faintly 
tinged  with  lavender,  and  frosted  with  brown  on  the  sides. 
Soft  Chiin  type:  probably  Sung  dynasty. 

H.  6Y  in.  D.  3  Yin. 


[33] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


155  Vase  of  lotus-bud  shape  with  a  very  small  opening  at  the  top. 
Reddish  buff  ware  with  thick  opalescent  glaze  of  turquoise 
color  faintly  crackled  and  frosted  in  places  with  pinkish 
brown. 

Soft  Chiin  type:  probably  Sung  dynasty. 

H.  2  y2  in.  D.  2 yi  in. 

156  Vase  with  conical,  bud-shaped  body  and  small  mouth. 
Reddish  buff  ware  with  thick  opalescent  turquoise  glaze, 
lightly  crackled  and  shading  off  into  faint  purple. 

Soft  Chiin  type:  probably  Sung  dynasty. 

H.  3  yi  in.  D.  3  in. 

157  Plate  with  narrow,  flat  rim  with  six-foil  edge.  Gray-white  por- 
celanous  ware  with  opalescent  glaze  of  pale  lavender-blue, 
faintly  crackled  with  irregular  lines.  Hollow  base  partially 
glazed. 

Chiin  ware:  Sung  dynasty. 

D.  7 in. 

158  Vase  of  oval  form  with  small  low  neck  and  projecting  lip. 
Buff  pottery  burnt  reddish  at  the  base  rim,  with  thick  opales¬ 
cent  glaze  finely  crackled  and  ending  just  short  of  the  foot 
outside.  The  color  is  turquoise-blue  warming  into  lavender, 
with  large  flushes  of  rosy  purple. 

Soft  Chiin  type:  Sung  or  Yiian  dynasty. 

H.  9  in.  D.  5H  in. 

159  Vase  of  ovoid  form  with  small  mouth.  Reddish  buff  ware  with 
thick  opalescent  turquoise-blue  glaze  crackled  and  forming  in 
billowy  lumps  on  the  sides  and  splashed  with  three  symmetri¬ 
cal  crimson  patches  on  the  shoulder. 

Soft  Chiin  type:  probably  Sung  dynasty. 

H.  4 y2  in.  D.  2^4  in. 

160  Vase,  melon-shaped  with  eight  shallow  lobes:  low  neck  and 
base.  Buff  pottery  with  opalescent  turquoise-blue  glaze  finely 
crackled  and  flowing  unevenly  so  that  the  body-color  shows 
through  in  places.  Light  tinges  of  purple  and  crimson  and 
greenish  patches  appear  here  and  there. 

Soft  Chiin  type:  Sung  dynasty. 

H.  4 yi,  in.  D.  6  in. 


[34] 


CHUN  WARE 

161  Vase  of  pomegranate  form  with  S-shaped  foot.  Reddish  buff 
ware  with  thick  opalescent  glaze  of  turquoise  color  faintly 
crackled,  and  frosted  in  places  with  brown  and  splashed  with 
crimson. 

Soft  Chiin  type:  probably  Sung  dynasty. 

H.  3  in.  D.2*in. 

162  Small  pear-shaped  vase,  with  short,  spreading  neck;  of  reddish 
buff  stoneware  covered  with  a  very  thick  crackled  blue  glaze 
mottled  with  white  and  covered  with  a  purple  splash. 

Soft  Chiin  ware:  probably  Sung  dynasty. 

H.  5  in.  D.  3X  in. 

163  Basin  with  small  foot  and  rounded  sides  slightly  contracting 
at  the  mouth.  Buff  stoneware  with  thick  opalescent  crackled 
glaze  ending  in  a  billowy  roll  just  short  of  the  base.  The 
color  inside  is  turquoise  tinged  with  lavender  and  broken  by 
three  symmetrically  placed  splashes  of  purple  dappled  with 
crimson  and  in  one  case  shading  off  into  green.  Outside  it 
passes  from  purple  streaked  with  gray  into  lavender  with  a 
passage  of  turquoise-gray  and  dapplings  of  crimson. 

Chiin  type:  Sung  or  Yuan  dynasty. 

H.  3^in.  D.  8S4  in. 

164  Basin  with  small  foot,  rounded  sides,  and  slightly  contracted 
mouth.  Reddish  buff  stoneware  with  thick  opalescent  glaze, 
faintly  crackled  and  ending  in  a  fairly  even  line  short  of  the 
base.  The  color  inside  is  opal-blue  passing  into  lavender- 
gray  and  heavily  bubbled  where  it  has  flowed  thick  in  the 
bottom  of  the  bowl;  it  is  broken  by  three  splashes  on  the 
sides  and  one  in  the  center,  of  purple  with  passages  of  crim¬ 
son,  frosted  with  green  and  russet  brown  in  the  centers. 
Outside  it  changes  from  crimson  to  purple  shot  with  gray, 
dappled  and  frosted  with  green.  An  exquisite  specimen 
with  wonderful  play  of  color. 

Chiin  type:  Sung  or  Yuan  dynasty. 

H.  4  in.  D.  9 yA  in. 

165  Vase  with  pear-shaped  body  and  long,  spreading  neck;  of 
buff-colored  porcelanous  ware  covered  with  a  crackled  gray- 
blue  glaze  and  splashed  with  purple.  Much  stained  by  moist¬ 
ure.  The  bottom  of  the  foot  has  been  covered  with  blue  glaze. 
Chiin  ware:  Sung  dynasty. 

H.  iX  in.  D.  5  in. 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


1 66  Bowl  of  conical  shape  with  rounded  sides  and  broad,  heavy 
foot,  of  reddish  buff  clay  covered  with  an  opalescent  blue  glaze 
ending  in  a  billowy  line  and  drops  above  the  foot  and  streaked 
with  purplish  blue  lines  turning  to  brown  at  the  rim. 

Chun  ware:  Sung  dynasty. 

H.  YA  in.  D.  7X  in. 

167  Bowl  of  conical  form  with  small  foot  and  slightly  contracted 
mouth.  Buff  stoneware  with  thick  opalescent  glaze  ending 
in  an  irregular  welt  above  the  base.  The  color  of  the  glaze  is 
pale  lavender-gray,  or  clair-de-lune,  flecked  with  brown  in 
places  and  broken  by  large  patches  of  purple  filled  in  with 
gray  and  greenish  brown. 

Chun  type:  Sung  or  Yuan  dynasty. 

H.  3^  in.  D.  6  in. 

168  Bowl  of  conical  form  with  small  foot  and  slightly  contracted 
mouth.  Iron-gray  stoneware  with  thick  fluescent  glaze  which 
runs  into  a  deep  pool  inside  and  ends  in  a  billowy  roll  and  large 
drops  short  of  the  base  outside.  The  color  changes  with  the 
flow  of  the  glaze,  from  a  thin  brownish  skin  at  the  edge 
through  a  dark  peacock-blue  to  light  blue  streaked  with 
purple.  The  pool  inside  has  boiled  up  into  brownish  gray 
scum  and  burst  in  large  bubbles  like  lava. 

Chun  type:  Yuan  dynasty. 

H.  3  in.  D.  7  in. 

169  Bowl  of  conical  form,  with  small  foot  and  slightly  contracted 
mouth.  Reddish  stoneware  with  thick,  flowing  glaze  which 
runs  into  a  deep  pool  inside  and  ends  in  a  billowy  roll  and 
large  drops  short  of  the  base  on  the  outside.  The  color  changes 
with  the  flow  of  glaze,  from  a  thin  brown  skin  at  the  edge 
through  a  bluish  lavender  to  a  greenish  gray  streaked  with 
blue.  The  pool  inside  has  boiled  up  into  a  yellowish  white 
scum  and  burst  in  large  bubbles. 

Chun  type:  Yuan  dynasty. 

H.  3  in.  D.  7^  in. 

170  Jar  with  broad  ovoid  body,  short  neck,  and  wide  mouth. 
Buff  stoneware  with  crackled  opalescent  glaze  of  pale  lavender, 
assuming  an  olive  tint  where  the  glaze  is  thin.  Three  sym- 

[36] 


CHUN  WARE 

metrically  disposed  patches  on  the  shoulder  of  green  color 
shot  with  blue  run  into  creamy  white. 

Chun  type:  Yuan  dynasty. 

H.  nY  in.  D.  12  Y  in. 

171  Jar  with  broad  ovoid  body,  short  neck,  and  wide  mouth. 
Dense  reddish  stoneware  with  lightly  crackled  opalescent 
glaze  of  pale  misty  lavender  color  assuming  an  olive  tint 
where  the  glaze  is  thin:  faint  “earthworm”  markings  here 
and  there,  and  three  symmetrically  disposed  patches  on  the 
shoulder  of  purple  color  with  frosted  green  centers.  Glaze 
under  the  base. 

Chun  type:  Sung  dynasty. 

H.  io}4  in.  D.  13  in. 

172  Vase  with  broad  ovoid  body,  short  neck,  and  wide  mouth. 
Coarse  reddish  stoneware  with  crackled  opalescent  glaze 
ending  in  an  uneven  line  short  of  the  base.  The  color  is 
grayish  lavender  of  varying  depth,  lightly  frosted  in  parts 
with  brown  and  broken  on  the  shoulder  by  three  large  splashes 
of  purple  with  crimson  centers. 

Chun  type:  Yuan  dynasty. 

H.  6 yi  in.  D.  ’]Y2  in. 

173  Saucer  dish  with  scalloped  sides,  and  a  large  peach-blossom 
with  leaves  modeled  in  low  relief  inside.  Porcelanous  stone¬ 
ware  burnt  reddish  brown  on  the  raw  base.  Thick  opalescent 
glaze  with  wonderful  play  of  color  and  freely  crackled.  The 
color  passes  from  pale  transparent  greenish  brown  on  the 
salient  parts  to  lavender-blue  finely  flecked  with  gray;  there 
are  occasional  spots  and  streaks  of  deep  crimson-brown,  and 
two  patches  of  amethystine  purple  with  dark  brown  centers 
frosted  with  green.  A  greenish  gray  froth  partially  obscures 
the  lavender  ground.  The  same  glaze  appears  outside,  but 
with  large  areas  of  transparent  green. 

Chun  ware:  Sung  dynasty. 

D.  8Y  in. 

174  Bowl  of  conical  form  with  small  foot  and  slightly  contracted 
mouth.  Coarse  reddish  stoneware  with  thick  opaque  crackled 
glaze  which  ends  in  an  uneven  line  short  of  the  base.  The 
color  is  a  pale  smoky  gray  with  a  faint  tinge  of  lavender,  and 

[  37  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


there  is  a  splash  of  crimson  inside  frosted  over  with  green. 
The  glaze  has  shrunk  into  deep  corrugations  on  the  lower  part 
of  the  exterior. 

Chun  type:  Yuan  dynasty. 

H.  in-  D-  7V 4  in. 

175  Bowl  of  conical  form  with  small  foot  and  contracted  mouth. 
Iron-gray  stoneware  with  opalescent  glaze  sparsely  crackled 
and  ending  short  of  the  base.  The  color  is  moonlight  white 
or  very  pale  lavender  faintly  frosted  with  brown  and  broken 
by  two  purple  patches  with  pale  centers. 

Chun  type:  Yuan  dynasty. 

H.  3  in.  D.  7 yi  in. 

176  Bowl  of  conical  form  with  small  foot  and  slightly  contracted 
mouth.  Gray  porcelanous  ware  burnt  brown  at  the  foot. 
Opalescent  glaze  strongly  crackled  and  stopping  at  the  foot 
in  an  uneven  line.  The  color  is  milky  lavender  shading  into 
pale  olive  at  the  edges  and  broken  by  two  splashes  of  ame¬ 
thystine  purple. 

Chiin  type:  Sung  or  Yuan  dynasty. 

H.  2 yi  in.  D.  7  in. 

177  Bowl  of  conical  form  with  small  foot  and  slightly  contracted 
mouth.  Iron-gray  stoneware  with  flowing  opalescent  glaze 
which  is  boldly  crackled  and  ends  in  an  uneven  welt  just 
short  of  the  base.  The  color  is  purplish  lavender  shot  with 
milky  gray  which  dominates  the  purple  where  the  glaze  flows 
thick.  Portions  of  the  surface  are  thickly  flecked  with  brown 
and  there  is  a  purple  splash  inside  with  a  brown  center. 
Chiin  type:  Yuan  dynasty. 

H.  3^  in.  D.  7  in. 

178  Bowl  of  conical  form  with  small  foot  and  slightly  contracted 
mouth.  Buff  stoneware  with  thick  opalescent  glaze  lightly 
crackled  and  stopping  short  of  the  base.  The  color  is  laven¬ 
der-gray  clouded  with  brown  and  broken  by  a  long  narrow 
splash  of  rose-purple  frosted  in  the  center  with  green  and 
brown.  The  glaze  outside  is  waxen  in  surface  and  deeply  pitted. 
Chiin  type:  Yiian  dynasty. 

H.  4X  in-  D-  8  7/i  in. 


[38] 


CHUN  WARE 

179  Basin  with  small  foot,  rounded  sides,  and  contracted  mouth. 
Reddish  buff  stoneware  with  crackled  opalescent  glaze  flow¬ 
ing  in  waves  on  the  exterior  and  ending  in  an  uneven  roll 
short  of  the  base.  The  color  inside  is  lavender  with  purple 
splashes,  one  of  which  has  a  green-streaked  center  and  rus¬ 
set  spots.  Outside  it  is  milky  lavender  lightly  clouded  with 
a  greenish  brown  frosting. 

Chun  type:  Sung  or  Yuan  dynasty. 

H.  376  in.  D.  8  74  in. 

1 80— 181  Two  globular  pots,  each  with  wide  contracted  mouth 
and  two  small  handles;  reddish  buff  stoneware  covered  with 
thick,  flowing,  greenish  white,  opalescent  glaze,  streaked  with 
lavender  and  splashed  with  purple  and  crimson,  which  ends 
in  a  billowy  roll  and  large  drops  at  the  base. 

Chun  ware:  Yuan  dynasty. 

H.  in.  D-  5/4  in. 

182  Saucer  dish  of  dark  buff  stoneware  with  opalescent  glaze, 
crackled.  Color  greenish  lavender-gray  splashed  with  crim¬ 
son  bordered  with  purplish  gray. 

Chun  type:  Sung  dynasty. 

D.  in. 

183  Saucer  dish  of  reddish  buff  stoneware  and  opalescent  glaze. 
The  color  is  greenish  gray  with  regularly  placed  splashes  of 
crimson  and  purple  with  brownish  green  centers. 

Chun  type:  Sung  dynasty. 

D.  S}4  in. 

184  Baluster-shaped  vase  with  short  neck  of  hard  brown  stone¬ 
ware  covered  with  a  thin  opalescent  lavender  glaze  turned 
olive-brown  where  the  glaze  has  run  thin,  and  ending  a  half 
inch  above  the  base  in  a  billowy  line.  The  foot  is]  covered 
with  a  thin  reddish  olive  wash,  and  the  base  with  bluish  glaze. 
Chun  ware:  Sung  dynasty. 

H.  14  in.  D.  6}^  in. 

185  Vase  with  broad,  pear-shaped  body,  high  shoulders,  and 
small,  straight  neck.  Reddish  buff  porcelanous  stoneware 
with  thick  opalescent  glaze  widely  crackled  and  ending  in  a 
ragged  line  and  big  drops  about  three  inches  short  of  the 

[  39  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


foot:  below  this  is  a  thin  skin  of  translucent  glaze  of  olive- 
green  color  clouded  with  lavender-gray  at  the  bottom.  The 
main  glaze  is  covered  with  a  skin  of  green  frosting  which  has 
parted  in  a  netting  of  “earthworm”  marks  and  spots  reveal¬ 
ing  a  gray  color  beneath,  with  tinges  of  purple  which  emerge 
in  a  warm  flush  on  one  side. 

Chun  type:  Sung  or  Yuan  dynasty. 

H.  io  in.  D.  7  >4  in. 


1 86  Incense-burner  with  globular  body,  straight  neck  and  flanged 
mouth,  two  dragon  handles,  and  three  small  feet.  Gray  por- 
celanous  ware  with  opalescent  and  faintly  crackled  glaze  pass¬ 
ing  from  gray  to  lavender  and  splashed  with  large  patches  of 
purple.  An  unglazed  patch  inside. 

Chun  ware:  Sung  dynasty. 

H.  3^  in.  D.,  with  handles,  5 }i  in. 

187  Incense-burner  with  globular  body,  straight  neck,  and  flanged 
mouth.  Gray  porcelanous  ware  with  faintly  crackled  opal¬ 
escent  glaze  of  pale  lavender-blue  with  splashes  of  purple 
which  shade  off  into  crimson  and  violet.  Unglazed  inside  the 
bowl. 

Chiin  ware:  Sung  dynasty. 

H.  8 Y%  in.  D.  in. 

188  Incense-burner  with  globular  body,  straight  neck,  and  flanged 
mouth.  Dark  buff  porcelanous  body  with  faintly  crackled 
greenish  white  glaze  with  a  faint  purple  splash,  and  glazed 
base. 

Soft  Chiin  ware:  Yuan  dynasty. 

H.  2^6  in.  D.  2i/i  in. 

189  Saucer  dish  with  narrow  flanged  rim.  Porcelanous  ware  burnt 
red  at  the  base,  which  is  unglazed:  the  rest  of  the  surface 
covered  with  a  smooth  opalescent  glaze  of  pale  delicate  lav¬ 
ender-gray  or  clair-de-lune  with  two  patches  of  purple  finely 
powdered  with  gray  specks.  The  glaze  is  boldly  but  irregu¬ 
larly  crackled. 

Probably  Kuan  ware:  Sung  dynasty. 

D.  7  Y%  in. 


[40] 


CHUN  WARE 


190  Plate  with  narrow  rim.  Gray  porcelanous  ware  with  opales¬ 
cent  glaze  of  misty  lavender-gray  color  breaking  into  large 
patches  of  plum-purple  with  crimson  tinges.  The  surface  is 
lightly  frosted  with  brown.  Three  spur-marks  beneath. 

Chun  or  Kuan  ware:  Sung  dynasty. 

D.  yyi  in. 

19 1  Small,  pear-shaped  pot  with  wide  mouth  of  reddish  buff  stone¬ 
ware  covered  with  thick  opalescent  gray-green  glaze  splashed 
with  purple  turning  to  green  in  regular  designs  forming  two 
Chinese  characters,  chun  shin,  meaning  “purity  of  heart.” 
The  interest  of  this  piece  is  that  it  clearly  proves  that  in  the 
later  periods  colored  splashes  on  Chun  yao  could  be  exactly 
controlled. 

Chiin  ware:  Yuan  dynasty. 

H.  4Xin.  D.  42<in. 

192  Water  pot  of  depressed  globular  form  with  small  mouth. 
Reddish  buff  ware  with  crackled  opalescent  glaze  of  turquoise 
color  with  broad  band  of  plum-purple  blotched  with  turquoise 
and  faint  green  stains. 

Soft  Chiin  type:  Sung  dynasty. 

H.  1  $4  in.  D.  3  in. 

193  Incense-burner  with  depressed  globular  body,  straight  neck, 
and  flanged  mouth:  three  small  feet.  Gray  porcelanous  ware 
with  misty  lavender-gray  glaze  passing  into  purple  flecked 
with  russet  and  green  spots.  Metal  mount  and  cover,  the 
latter  with  pierced  floral  design,  made  in  Japan. 

Chiin  ware:  Sung  dynasty. 

H.  2}i  in.  D.  2^J  in. 

194  Incense-burner  with  globular  body,  straight  neck,  and  flanged 
mouth.  Gray  porcelanous  ware  with  faintly  crackled  opales¬ 
cent  glaze  of  pale  greenish  gray  with  splashes  of  light  purple. 
Part  of  the  bowl  inside  unglazed. 

Soft  Chiin  ware:  Sung  dynasty. 

H.  2 in.  D.  3  yA  in. 

195  Vase  with  globular  body,  short  neck  with  spreading  lip,  and 
two  loop-handles.  Buff  stoneware  with  thick  opalescent 
glaze  strongly  crackled  and  ending  in  a  fairly  regular  welt  short 

[  41  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


of  the  base.  The  color  is  pale  lavender-blue  flushing  with 
purple  on  the  sides  and  broken  by  large  rose-purple  splashes, 
with  crimson  flecked  with  gray  in  their  centers.  The  shoulders 
are  lightly  frosted  with  brown,  and  the  underlying  purple 
emerges  in  the  lines  of  the  crackle  and  in  the  bubbles  of  the 
glaze. 

Chiin  type:  Sung  or  Yuan  dynasty. 

H.  5  in.  D.  5  $4  in. 

196  Jar  of  oval  form  with  contracted  neck  and  wide  mouth  with 
thick,  rounded  lip.  Coarse  gray  stoneware  full  of  quartzlike 
particles,  with  a  thick  opalescent  lavender-gray  crackled  glaze 
spotted  with  purple  and  madder-brown  and  broken  by  two 
splashes  of  blood-crimson,  changing  into  deep  crab-shell 
green,  and  frosted  on  the  shoulders  with  brownish  gray.  The 
base  and  part  of  the  interior  are  unglazed. 

Chiin  type:  Sung  or  Yuan  dynasty. 

H.  4^  in.  D.  5^  in. 

197  Shallow  bowl  of  gray  stoneware  burnt  rusty  red  on  the  foot 
rim.  Crackled,  opalescent  glaze  of  misty  gray-white  tinged 
with  lavender:  splashes  of  purple  and  crimson  with  green  and 
russet  in  their  centers.  Glaze  inside  the  base. 

Chiin  type:  Sung  dynasty. 

H.  in.  D.  6 $4  in. 

198  Saucer  dish  of  reddish  buff  stoneware  and  opalescent  glaze, 
sparsely  crackled.  The  color  is  a  misty  lavender-gray  faintly 
frosted  with  brown  and  splashed  with  crimson.  The  base  has 
a  smear  of  brown  glaze;  and  the  numeral  erh,  =.  (two),  has  been 
incised,  apparently  after  firing. 

Chiin  type:  Sung  or  Yiian  dynasty. 

D.  7L£  in. 

199  Saucer  dish  of  pale  buff  stoneware  with  crackled  opalescent 
glaze  ending  in  an  uneven  line  beside  the  foot  rim.  The  color 
is  lavender  of  varying  depth  faintly  shot  with  gray,  and  on 
one  side  there  is  a  large  greenish  splash  shading  into  brown  at 
the  edge. 

Chiin  type:  Sung  dynasty. 

D.  9  74  in. 


[42] 


CHUN  WARE 


200  Saucer  of  reddish  buff  porcelanous  ware  covered  with  a 
crackled  blue-green  opalescent  glaze,  olive-brown  where  the 
glaze  has  run  thin  and  with  a  splash  bordered  with  brilliant 
crimson. 

Chun  ware:  Yuan  dynasty. 

H.  i  in.  D.  5  in. 

201  Small  plate  of  dark  bulb  ware  covered  with  a  blue  glaze 
clouded  with  brownish  white  and  splashed  with  purple. 
Where  the  glaze  has  run  thin  the  buff  paste  shows  through. 
Chiin  ware:  Yuan  dynasty. 

H.  in.  D.  in. 

202  Plate  with  straight  sides  and  narrow  rim.  Grayish  buff  stone¬ 
ware  with  crackled  opalescent  glaze  of  pale  lavender-gray 
sown  with  purple  points  and  broken  by  two  purple  splashes 
with  green  frosting  in  the  centers:  the  base  unglazed. 

Chiin  type:  Yuan  dynasty. 

.  D.  sH  in. 

203  Bowl  of  conical  form  with  small  foot  and  contracted  mouth. 
Gray  porcelanous  ware  with  smooth  opalescent  glaze  ending  in 
an  uneven  line  short  of  the  base.  The  color  inside  is  lavender- 
gray  with  pale  olive  tinges  on  the  rim  and  in  the  parts  where 
the  glaze  has  run  thin,  small  patches  of  purple  and  rusty 
brown,  and  large  irregular  crackle.  On  the  outside  the  green 
and  lavender  pass  at  once  into  a  deep  purple  which  suffuses 
the  rest  of  the  surface. 

Chiin  ware:  Sung  dynasty. 

H.  3  yi  in.  D.  5^  in. 

204  Bowl  of  conical  form  with  small  foot  and  slightly  contracted 
mouth.  Porcelanous  ware  burnt  rusty  brown  in  the  unglazed 
parts.  Smooth,  finely  crackled  glaze  of  pale  lavender-gray 
clouded  with  smoky  brown  and  broken  by  purplish  patches 
which  have  the  bloom  of  a  ripe  peach.  The  base  is  partially 
glazed. 

Probably  Kuan  ware:  Sung  dynasty. 

H.  3  in.  D.  53^  in. 

205  Globular  vase  with  contracted  mouth  of  yellowish  buff  stone¬ 
ware  covered  with  a  bluish  gray  opalescent  glaze  finely  crack- 

[43] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


led  and  splashed  with  beautiful  crimson.  At  the  mouth,  where 
the  glaze  runs  thin,  the  paste  shows  through  a  pale  olive.  The 
foot  is  slightly  washed  with  transparent  glaze  and  splashed 
with  the  general  glaze. 

Chun  ware:  Sung  dynasty. 

H.  in.  D.  in. 

206  Incense-burner  of  globular  form,  with  spreading  lip  and  three 
small  feet.  Buff  porcelanous  ware  covered  inside  with  a  pale 
opalescent  milky  green  glaze  streaked  with  white.  The  out¬ 
side  is  crimson  red  streaked  with  lavender  turning  into  rose 
color  and  becoming  pale  turquoise-white  on  the  base.  The 
paste  shows  reddish  olive  where  the  glaze  has  run  thin.  The 
base  shows  five  spur-marks  and  slight  accidental  crackle. 
Chun  ware:  Sung  dynasty. 

H.  \yi  in.  D.  6^  in. 

207  Bowl  of  conical  form  with  small  foot  and  contracted  mouth. 
Gray  porcelanous  ware  with  opalescent  and  evenly  crackled 
glaze.  The  color  inside  is  greenish  gray;  outside  the  same 
color  flushed  with  rose-red  on  one  side  with  a  slightly  purplish 
border.  The  foot  is  covered  with  thin  olive-brown  glaze  and 
a  splash  of  the  predominating  gray-green  glaze. 

Chun  ware:  Sung  dynasty. 

H.  3^  in.  D.  5^  in. 

208  Bowl  of  conical  form  with  small  foot  and  contracted  mouth. 
Gray  porcelanous  ware  with  pitted  opalescent  glaze  ending 
in  an  uneven  line  short  of  the  base.  The  color  inside  is  tur¬ 
quoise-green  with  crimson  and  lavender  splashes,  the  centers 
of  which  have  burned  olive-green.  The  outside  has  also 
purple  splashes  with  crimson  edges  and  olive-green  centers  on 
a  light  turquoise-white  opalescent  ground.  The  foot  is  cov¬ 
ered  with  a  light  buff  glaze  and  has  a  splash  of  opalescent 
light  turquoise  glaze  over  it. 

Chun  ware:  Sung  dynasty. 

H.  3^4  in.  D.  5  in. 

209-213  Set  of  five  bowl-shaped  cups  with  small  feet  and  slightly 
contracted  mouth  rims.  Porcelanous  ware  burnt  reddish 
brown  on  the  unglazed  base.  Smooth  opalescent  glaze  thin 

[  44  ] 


CHUN  WARE 

at  the  edge  and  of  pale  olive  tint  which  passes  into  gray- 
dappled  lavender  with  isolated  patches  and  large  areas  of 
deep  purple,  which  is  in  one  case  slightly  frosted  with  greenish 
brown. 

Chun  ware:  Sung  dynasty. 

H.  i  $4  in.  D.  3  in. 

214  Small,  fluted  vase,  with  pear-shaped  body  and  spreading  neck. 
Yellowish  buff  porcelanous  ware  covered  with  an  opalescent 
lavender  glaze  streaked  with  blue.  The  paste  shows  through  a 
yellowish  brown  where  the  glaze  runs  thin.  Foot  glazed  inside. 
Chun  ware:  Yuan  dynasty. 

H.  4  in.  D.  2  in. 

215  Octagonal  vase,  pear-shaped,  with  slender  neck  and  spreading 
mouth,  covered  with  a  thick  black  glaze,  on  a  small  octagonal 
stand  of  turquoise-blue  and  decorated  with  five  dragons 
crawling  up  against  the  vase,  each  covered  with  a  different 
glaze,  turquoise-blue,  dark  indigo-blue,  yellow,  white,  and  red 
mottled  with  green,  faintly  crackled.  The  base  is  covered  with 
turquoise-blue  glaze  and  incised  with  the  number  san,  Z 
(three).  The  clay  is  sandy  and  grayish  white. 

Soft  Chiin  type:  Sung  dynasty. 

H.  8  in.  D.  3  yi  in. 

216  Bottle  of  oviform  shape  with  short,  straight  neck  and  wide 
mouth;  of  coarse  dark  gray  stoneware  browned  in  firing  and 
covered  with  a  dark  blackish  brown  glaze  mottled  and  streaked 
with  blue  turning  through  green  to  yellowish  white. 

Chien  or  Chiin  type:  Sung  dynasty. 

H.  in.  D.  9  in. 

217  Flower  pot  of  deep  bowl  form.  Grayish  white  porcelanous 
ware  with  finely  striated,  deep  opalescent  glaze  of  greenish 
blue  color  covered  with  brilliant  purple.  Inside  is  a  dark 
greenish  blue  color  of  deep  tone.  The  rim  where  the  glaze  has 
run  thin  is  olive  color.  The  base  perforated  by  five  holes  is 
washed  with  olive-colored  thin  glaze  and  incised  with  the 
numeral  ssu,  <n>  (four). 

Chiin  ware:  Sung  dynasty. 

H.  8  in.  D.  10  in. 


[45] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


218  Flower  pot,  companion  to  the  above,  and  of  the  same  shape. 
The  finely  striated  deep  opalescent  grayish  blue  glaze  of 
lighter  color  than  No.  217  is  more  evenly  covered  with  vivid 
dark  rose  in  fine  lines.  The  opalescent  grayish  blue  interior 
shot  with  faint  violet  is  also  lighter  in  color.  The  rim  and  the 
base  where  the  glaze  is  thin  are  olive  color.  The  base  pierced 
with  five  holes  bears  incised  the  numeral  ssu,  <n>  (four). 

Chun  ware:  Sung  dynasty. 

H.  8  in.  D.  10  in. 

219  Flower  pot  with  globular  body,  short  neck,  and  low,  spreading 
foot:  five  holes  in  the  bottom.  Grayish  white  porcelanous 
ware,  burnt  rusty  red  on  the  unglazed  edge.  Opalescent 
glaze  of  singular  beauty  with  minute  crackle,  and  a  belt  of 
“earthworm”  marks  on  the  neck.  The  color  changes  from 
pure  blue-opal  inside  the  neck  through  warm  gray  to 
purplish  lavender  shot  with  grayish  white  in  the  interior. 
On  the  outside  the  gray-flecked  lavender  warms  into  rose- 
purple  with  a  silken  iridescent  bloom  on  one  side;  and  on  the 
other  side  it  is  strongly  dappled  with  crimson-brown  specks 
which  concentrate  in  a  deep  brownish  crimson  patch.  The 
base  is  washed  with  olive-brown  and  incised  with  the  numeral 
erh,  jl  (two). 

Chiin  ware:  Sung  dynasty. 

H.  6X  in.  D.  10  in. 

220  Vase  of  ovoid  form.  Grayish  white  porcelanous  ware  with 
finely  striated  glaze  of  dark  blue  color  heavily  streaked  with 
light  blue  and  rich  purple,  in  parts  turning  into  deep  red. 
The  inside  is  brilliant  blue  streaked  with  turquoise-blue  and 
dappled  with  red  on  the  bottom.  The  lip  where  the  glaze  is 
thin  is  of  olive  color.  The  flat  base  shows  traces  of  thin  brown 
glaze.  The  center  is  ground  down  in  order  to  efface  the  Impe¬ 
rial  Chinese  Palace  mark  and  the  numeral  pa,  A  (eight), 
which  a  Chinaman  who  knew  the  vase  in  the  Imperial  Collec¬ 
tion  reported  was  once  there. 

Chiin  ware:  Sung  dynasty. 

H.  6pi  in.  D.  6  in. 

221  Flower  pot  of  quatrefoil  shape  with  flat  rim;  gray  porcelanous 
earth  covered  inside  with  a  blue-green  opalescent  glaze  over¬ 
flowed  at  the  top  with  purple,  which  flows  down  from  the 

[46] 


CHUN  WARE 


rim,  where  the  glaze  has  run  thin,  olive-brown  shows  through. 
Outside  it  is  evenly  covered  with  a  mottled  purple  glaze  full  of 
earthworm”  tracks.  The  base  is  washed  with  greenish  olive- 
brown,  perforated  with  five  holes,  and  marked  with  the  num¬ 
ber  chiu,  -h  (nine). 

Chun  ware:  Sung  dynasty. 

H.  4R£  in.  D.  8y&  in. 


222  Bulb  bowl,  or  flower-pot  stand,  moulded  in  six  shaped  lobes 
and  flanged  at  the  mouth  with  a  six-foil  rim:  three  cloud- 
scroll  feet.  Gray  porcelanous  ware  with  opalescent  glaze 
which  flows  away  from  the  salient  parts,  leaving  them  a  pale 
ohve  color.  The  inside  is  a  purplish  lavender  dappled  with 
grayish  white  and  broken  by  a  few  “earthworm”  markings. 

e  color  outside  is  broken  by  the  rounded  contours  of  the 
moulding  and  changes  repeatedly  from  pale  olive  through 
dappled  lavender  to  deep  crimson.  The  base  is  washed  with 
olive-brown  and  incised  with  the  numeral  erh,  -  (two),  and 
it  has  a  ring  of  spur-marks. 

Chiin  ware:  Sung  dynasty. 

H.  3  in.  D.  9^  in. 

223  Bulb  bowl  with  moulded  five-foil  sides,  flanged  mouth  with 
rolled  edges,  and  three  cloud-scroll  feet.  Gray  porcelanous 
ware  with  thick  crackled  opalescent  glaze  having  great  play 
of  color.  Inside,  it  is  translucent  olive-green  clouded  and 
mottled  with  gray  and  purple  and  passing  into  crimson  on  the 
rim,  which  is  frosted  with  crab-shell  green  on  the  edges.  Out¬ 
side,  it  is  mostly  rose-purple  dappled  with  lavender  and  gray 
and  deepening  into  crimson  and  purplish  brown.  There  is  a 
light  frosting  in  places.  The  base  is  washed  with  olive-brown 
and  incised  with  the  numeral  liu,  (six),  and  it  has  a  ring  of 
spur-marks. 

Chiin  ware:  Sung  dynasty. 

H.  2$4  in.  D.  8^4  in. 


224  Bulb  bowl  with  sides  moulded  in  five  petal-shaped  lobes, 
flanged  rim  of  five-foil  form  with  rolled  edge,  and  three  cloud- 
scroll  feet.  Gray  porcelanous  ware  with  thick  opalescent 
glaze,  with  a  cluster  of  “earthworm”  markings  in  the  center 

[  47  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


of  the  interior.  The  color  passes  from  light  olive  at  the  edges 
to  plum-colored  purple  dappled  and  curded  with  greenish 
gray.  The  same  colors  appear  on  the  outside,  but  the  red 
tints  are  stronger  and  the  gray,  which  runs  down  in  milky 
waves,  is  deeply  tinged  with  purple,  and  here  and  there  the 
color  deepens  into  brownish  crimson.  The  base  is  washed 
with  olive-brown  and  incised  with  the  numeral  liu,  -r>  (six), 
and  it  has  a  ring  of  small  spur-marks. 

Chun  ware:  Sung  dynasty. 

H.  2^i  in.  D.  8^  in. 

225  Bulb  bowl  or  flower-pot  stand,  moulded  in  six  shaped  lobes 
and  flanged  at  the  mouth  with  a  six-foil  rim:  three  cloud-scroll 
feet.  Gray  porcelanous  ware  with  opalescent  glaze,  which 
flows  away  from  the  salient  parts,  leaving  them  a  pale  olive 
color.  The  inside  is  a  purplish  lavender  dappled  with  grayish 
white.  The  color  outside  is  broken  by  the  rounded  contours 
of  the  moulding  and  changes  repeatedly  from  pale  olive  to 
dappled  lavender  and  deep  crimson.  The  base  is  washed  with 
olive-brown.  It  has  a  ring  of  spur-marks  and  is  incised  with 
the  numeral  chiu,  *  (nine). 

Chun  ware:  Sung  dynasty. 

H.  2^  in-  D.  7H  in. 

226  Bulb  bowl,  or  flower-pot  stand,  moulded  in  six  shaped  lobes 
and  flanged  at  the  mouth  with  a  six-foil  rim:  three  cloud-scroll 
feet.  Gray  porcelanous  ware  with  opalescent  glaze,  which 
flows  away  from  the  salient  parts,  leaving  them  a  pale  olive 
color.  The  inside  is  a  greenish  lavender  dappled  with  greenish 
white  and  a  few  splashes  of  purple.  The  rim  is  purple  dappled 
with  grayish  white.  The  color  outside  is  slightly  broken  by 
the  rounded  contours  of  the  moulding  and  is  dark  crimson 
mottled  with  lavender  turning  in  parts  to  greenish  gray.  The 
base  is  washed  with  greenish  olive-brown  and  is  incised  with 
the  numeral  san,  H  (three). 

Chun  ware:  Sung  dynasty. 

H.  2^5  in.  D.  9^  in. 

227  Bulb  bowl  of  bronze  form  with  three  cloud-scroll  feet:  the 
exterior  is  bordered  by  two  rows  of  studs,  the  upper  row  in¬ 
closed  by  raised  bands.  Grayish  white  porcelanous  ware  with 
opalescent  glaze  faintly  crackled.  The  salient  points  where 

[48] 


CHUN  WARE 


the  glaze  is  thin  are  pale  olive.  Inside,  the  color  is  lavender- 
blue  mottled  and  clouded  with  opaque  grayish  and  greenish 
white  broken  by  “earthworm”  marks.  On  the  exterior,  the 
glaze  is  faintly  iridescent  and  has  a  beautiful  silken  sheen, 
and  the  color  is  rose-purple  finely  flecked  and  shot  with  gray¬ 
ish  white.  On  the  feet  it  develops  a  deep  crimson.  The  base  is 
washed  with  olive-brown  and  incised  with  the  numeral  ssu,  <n> 
(four),  and  it  has  a  ring  of  spur-marks. 

Chun  ware:  Sung  dynasty. 

H.  3X  in.  D.  8$4  in. 

228  Bulb  bowl  of  bronze  shape  with  three  cloud-scroll  feet: 
bordered  on  the  exterior  with  two  rows  of  studs,  the  upper 
row  inclosed  by  raised  bands.  Gray  porcelanous  ware  with 
opalescent  glaze,  which  flows  away  from  the  salient  parts, 
leaving  them  a  pale  olive  color.  Inside,  the  glaze  is  purplish 
lavender  flecked  and  clouded  with  grayish  white  and  parted 
here  and  there  with  “earthworm”  markings.  On  the  outside, 
it  changes  from  gray  to  dappled  purple,  developing  a  deep 
crimson  on  the  lower  part  of  the  feet.  The  base  is  washed 
with  dull  brown  and  incised  with  the  numeral  pa,  X  (eight), 
and  it  has  a  ring  of  spur-marks. 

Chun  ware:  Sung  dynasty. 

H.  2^4  in.  D.6yi  in. 

229  Bulb  bowl  of  bronze  form  with  three  cloud-scroll  feet:  the  ex¬ 
terior  is  bordered  by  two  rows  of  studs,  the  upper  row  in¬ 
closed  by  raised  bands.  Grayish  white  porcelanous  ware  with 
opalescent  glaze  faintly  crackled.  The  salient  parts  where  the 
glaze  is  thin  are  pale  olive.  Inside,  the  color  changes  from 
pale  blue  to  a  bluish  violet  flecked  with  white,  surrounded  by 
a  greenish  white  ring  with  “earthworm”  marks.  On  the  out¬ 
side  it  passes  from  purple  to  a  faint  rose-red  line  and  on  the 
upper  ring  a  faint  purple  turns  to  grayish  white.  The  base  is 
washed  with  olive-brown  partly  turning  into  dull  red  and 
incised  with  the  numeral  wu,  (five),  and  it  has  a  ring  of 
small  spur-marks. 

Chun  ware:  Sung  dynasty. 

H.  2 yi  in.  D.  j^/i  in. 

230  Bulb  bowl  of  bronze  form  with  three  cloud-scroll  feet:  the 
exterior  is  bordered  by  two  rows  of  studs,  the  upper  row  in- 

[  49  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


closed  by  raised  bands.  Gray  porcelanous  ware:  opalescent 
glaze  with  mingled  tints  of  transparent  olive,  gray,  blue,  and 
crimson,  streaked  and  dappled,  broken  by  “earthworm” 
markings,  and  faintly  crackled.  The  glaze  inside  is  chiefly 
purple,  mottled  and  streaked  with  bluish  and  greenish  gray. 
On  the  outside  there  is  greater  play  of  color,  with  wide  areas 
of  olive,  faintly  frosted  with  iridescent  bubbles.  The  base  is 
washed  with  olive-brown,  incised  with  the  numeral  i,  _ 
(one),  and  it  has  a  ring  of  spur-marks. 

Chiin  ware:  Sung  dynasty. 

H.  3^  in.  D.  io in. 

231  Bulb  bowl  of  bronze  form  with  three  cloud-scroll  feet;  the 
exterior  is  bordered  by  two  rows  of  studs,  the  upper  row 
inclosed  by  raised  bands.  Gray  porcelanous  ware  with 
opalescent  glaze,  with  mingled  tints  of  blue-purple  and 
crimson,  faintly  crackled.  The  glaze  inside  is  blue  turning 
to  green  on  the  bottom  and  evenly  crackled.  The  base  is 
washed  with  olive-brown,  incised  with  the  numeral?,  _  (one), 
and  it  has  a  ring  of  spur-marks. 

Chiin  ware:  Sung  dynasty. 

H.  3  yi  in.  D.  10  in. 

232  Bulb  bowl  of  bronze  form  with  three  cloud-scroll  feet:  the 
exterior  is  bordered  by  two  rows  of  studs,  the  upper  row  in¬ 
closed  by  raised  bands.  Grayish  white  porcelanous  ware  with 
opalescent  glaze  faintly  crackled.  The  salient  parts,  where  the 
glaze  is  thin,  are  pale  olive.  Inside,  the  color  changes  from  a 
pale  lavender-blue  flecked  with  white  to  a  greenish  white  with 
“earthworm”  marks  and  dappling  of  pale  lavender.  On  the 
outside  it  passes  from  greenish  gray  to  purple  mottled  and 
flecked  with  grayish  white  and  scored  with  “earthworm” 
marks  of  many  forms.  On  the  feet  it  passes  from  pale  olive 
to  deep  crimson  flecked  with  coral-red.  The  base  is  washed 
with  olive-brown  and  incised  with  the  numeral  i,  _  (one), 
and  it  has  a  ring  of  spur-marks. 

Chiin  ware:  Sung  dynasty. 

H.  3  }4  in.  D.  93^  in. 

233  Bulb  bowl,  or  flower-pot  stand,  with  sides  moulded  in  six 
petal-shaped  lobes:  flanged  rim  of  wavy  six-foil  form  rolled 
at  the  edge.  Gray  porcelanous  ware  with  opalescent  glaze 

[50] 


CHUN  WARE 


parted  with  “earthworm”  markings.  The  color  incised  is 
dull  olive  frosted  over  with  opaque  gray-green,  the  “earth¬ 
worm”  marks  and  a  number  of  small  spots  disclosing  a  beauti¬ 
ful  sky  blue  which  lies  below.  The  outside  is  dappled  crimson 
flecked  with  a  thin  green  frosting  and  breaking  at  the  edges 
into  greenish  gray  and  lavender.  The  feet  are  olive-green 
passing  into  crimson.  Dull  green  glaze  under  the  base,  with 
the  numeral  erh,  =.  (two),  incised,  and  a  ring  of  spur-marks. 
Chun  ware:  Sung  dynasty. 

H.  3  yi  in.  D.  9 yi  in. 

234  Flower-pot  stand  of  oblong,  rectangular  form  with  notched 
corners,  straight  sides,  flanged  rim,  and  four  small  cloud- 
scroll  feet.  Grayish  white  porcelanous  ware  with  glaze  of 
lavender  tint  more  or  less  obscured  by  a  gray-white  froth. 
On  the  rim  and  exterior  it  passes  into  purple  dappled  and 
clouded  with  grayish  white  and  developing  passages  of 
crimson  on  the  feet.  The  base  is  washed  with  olive-brown 
and  incised  with  the  numeral  shih,  +  (ten),  and  it  has  a  ring  of 
spur-marks. 

Chiin  ware:  Sung  dynasty. 

H.  2  in.  L.  yyi  in. 

235  Vase  with  circular  body  and  long,  straight  neck  ending  in  a 
spreading  mouth  contracted  at  the  lip.  The  neck  is  decorated 
with  a  heavy  ring  and  two  handles  in  the  form  of  ju-i  sceptres. 
The  body  is  ornamented  with  two  lions’  heads  meant  to  hold 
rings  and  an  incised  band  of  “cloud  and  thunder”  pattern. 
Dark  buff  clay  covered  with  finely  crackled  green  glaze 
slightly  iridescent  and  mottled  with  dashes  of  brownish 
purple. 

Sung  dynasty. 

H.  8  in.  D.  6  in. 

236  Bowl  of  conical  form  with  small  foot  and  spreading  mouth. 
Dark  red  ware  burnt  black.  Thick  purplish  black  glaze, 
which  stops  in  an  even  welt  above  the  base,  richly  dappled 
with  large,  lustrous  silvery  flecks. 

Chien  ware:  Sung  dynasty. 

H.  3  yi  in.  D.  7  >4  in. 

237—239  Three  bowls  of  conical  form  slightly  compressed  at 
the  mouth:  with  small  foot.  Dark  red  ware  burnt  black. 

[5i] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


Thick  purplish  black  glaze,  which  stops  short  of  the  base, 
finely  streaked  with  lustrous  golden  brown  or  silver:  in  one 
case  the  brown  predominates  on  the  upper  part.  Silver  bands 
on  the  mouth  rims. 

These  are  the  “hare’s-fur”  or  “partridge”  cups  used  in  the  tea 
contests  and  much  prized  in  Japan,  where  they  are  named 

temmoku. 

Chienware:  Sung  dynasty. 

H.  2^4  and  2 y2  in.  D.  5^,  5,  and  4^  in. 

240  Bowl  of  conical  form  slightly  compressed  at  the  mouth:  with 
small  foot.  Dark  reddish  ware  burnt  black.  Thick  purplish 
black  glaze  ending  in  a  thick  roll  above  the  base,  and  finely 
streaked  with  lustrous  golden  brown,  the  brown  dominating 
the  black  on  the  upper  part.  Gold  band  on  the  mouth  rim. 
Chien  ware:  Sung  dynasty. 

H.  2 in.  D.  4 yi  in. 

241  Bowl  of  conical  form  with  slightly  compressed  mouth  and 
small  foot.  Dark  reddish  ware  burnt  black,  with  thick  black 
glaze  ending  in  a  thick  roll  above  the  base  and  finely  streaked 
with  silvery  purple  lines.  The  lip  covered  with  a  silver  band. 
Chienware:  Sung  dynasty. 

H.  2 in.  D.  4 ^  in. 

242  Conical  bowl  with  rounded  sides  and  small  foot,  of  dark 
brown  porous  clay  covered  with  an  iridescent  black  glaze 
streaked  with  silvery  bluish  green  turning  to  brown  at  the 
rim,  which  is  covered  with  a  metal  band. 

Chienware:  Sung  dynasty. 

H.  3  in.  D.  in. 

243  Bowl  of  conical  form  slightly  compressed  at  the  mouth:  with 
small  foot.  Dark  reddish  ware  burnt  black,  with  thick  pur¬ 
plish  black  glaze,  which  stops  short  of  the  base,  frosted  over 
with  a  purplish  gray.  Gold  band  on  the  mouth  rim. 

Chien  ware:  Sung  dynasty. 

H.  2^6  in.  D.  43^  in. 

244  Bowl  of  conical  form  with  small  foot  and  slightly  compressed 
mouth.  Dark  red  ware  burnt  black.  Thick  mouse-gray 

[  52  ] 


CHUN  WARE 


glaze  which  stops  short  of  the  base,  crackled  and  finely  mot¬ 
tled  with  brown  and  gray. 

Chien  ware:  Sung  dynasty. 

H.  zyi  in.  D.  in. 

245  Bowl  of  conical  form  with  rounded  sides  and  slightly  com¬ 
pressed  mouth.  Buff-colored  clay  covered  with  a  black  glaze 
splashed  with  reddish  brown.  The  foot  is  unglazed. 

Probably  Northern  China:  Sung  dynasty. 

H.  2 yi  in.  D.  5^  in. 

246  Bowl  of  conical  form  with  straight  sides  and  small  foot. 
Porcelanous  gray  ware  with  thick  purplish  black  glaze, 
dappled  with  large,  irregular  drops  of  golden  brown  frosted 
with  green. 

Chien  type:  Sung  dynasty  or  earlier. 

H.  2  in.  D.  524  in. 

247  Bowl  of  conical  form  with  slightly  compressed  mouth  and 
small  foot.  Light  buff  paste  covered  with  reddish  brown  glaze 
streaked  with  blue-green,  ending  in  a  billowy  line  near  the 
rim  and  leaving  the  greater  part  of  the  base  uncovered.  Lip 
covered  with  a  silver  band.  The  foot  unglazed. 

Probably  Northern  China:  Sung  dynasty. 

H.  2><  in.  D.  5^  in. 

248  Bowl  of  conical  form  slightly  compressed  at  the  mouth :  with 
small  foot.  Buff  ware  burnt  brownish  red;  covered  with 
coffee-brown  glaze  faintly  streaked  with  blue-green  and  ending 
in  a  blue  pool  at  the  bottom  of  the  cup. 

Northern  China:  Sung  dynasty. 

H.  2^4,  in.  D.  5  in* 

249  Bowl  of  conical  form  with  straight  sides  and  small  foot. 
Porcelanous  gray  ware  having  thick  purplish  black  glaze 
with  a  few  flecks  of  golden  brown.  Inside  is  a  design  of  a 
skeleton  leaf  expressed  in  frothy  golden  brown  and  green. 
Metal  band  on  mouth  rim. 

Chien  type:  Sung  dynasty  or  earlier. 

H.  2  yi  in.  D.  6  in. 

250  Bowl  of  conical  form,  slightly  compressed  at  the  mouth:  with 
small  foot.  Grayish  stoneware  burnt  brown.  Thick  purplish 

[  53  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


black  glaze  streaked  and  dappled  with  golden  brown  in  which 
are  a  number  of  plum  blossom  reserves.  Gold  band  on  the 
mouth  rim. 

Chien  type,  probably  Northern  China:  Sung  dynasty. 

H.  in.  D.  4^6  in. 

251  Bowl  of  conical  form  slightly  compressed  at  the  mouth:  with 
small  foot.  Buff  stoneware  with  thick  black  glaze  mottled 
outside  with  large  irregular  flecks  of  dull  green.  The  inside  is 
thickly  freckled  with  dull  green  in  which  are  reserved  two 
phoenixes  (feng  huang )  and  three  flowers. 

Chien  type,  Northern  China:  probably  Sung  dynasty. 

H.  in.  D.  in. 

252  Bowl  of  shallow,  wide-mouthed  form.  Gray  porcelanous  ware 
burnt  reddish  brown  at  the  base,  which  is  unglazed.  Olive- 
green  celadon  glaze  frosted  and  stained  with  brown  and  inter¬ 
rupted  inside  the  bowl  by  a  broad  ring  which  is  almost  bare  of 
glaze.  Inside,  a  square  seal  has  been  stamped  through  the 
glaze,  bearing  the  characters  Hen  (heaven)  hsin  (heart). 
Probably  northern  Chinese:  Sung  dynasty. 

H.  2  in.  D.  5  y%  in. 


[54] 


LUNG-CH’UAN  WARE  OR  CELADON 

253  Vase  of  rectangular  form  with  pear-shaped  outline  and  wide 
mouth:  two  square  tubular  handles.  The  body  is  a  dark 
reddish  brown  ware  of  close,  hard  texture;  and  the  glaze  is 
thick,  sparsely  crackled,  and  of  misty  gray  color  warmed  by 
the  red  tinge,  which  is  partly  due  to  the  underlying  clay 
appearing  through  it.  The  mouth  is  brown  at  the  edge,  where 
the  glaze  is  thin.  The  base  is  hollow  and  pierced  with  two 
holes  for  a  cord  which  would  pass  through  the  tubular  handles 
above.  There  are  large  flaws  on  one  side  where  the  glaze  has 
halted  in  its  flow  and  congealed  in  large  drops;  and  a  few 
smaller  flaws  of  the  same  kind  occur  elsewhere.  This  vase 
seems  to  correspond  closely  with  the  fen  ch’mg  colored  type  of 
Kuan  ware,  described  in  Chinese  books  as  having  a  “brown 
mouth  and  iron  foot,”  and  a  faint  tinge  of  red  in  the  glaze. 
Kuan  or  Ko  ware:  Sung  dynasty. 

H.  16  in.  D.  wyf  in. 

254  Vase,  bottle-shaped,  with  pendulous  body  and  wide,  tapering 
neck:  low  foot  with  two  openings  at  the  sides.  Dark  red- 
brown  stoneware  with  thick  smooth  glaze  of  clair-de-lune 
gray  with  wide-meshed  irregular  crackle  of  brown  color. 
Under  the  base  the  glaze  has  run  in  thick,  rounded  folds  like 
congealed  fat. 

Probably  Koware:  Sung  dynasty. 

H.  13^  in.  D.  8>^in. 

255  Tall  vase  of  oviform  body  with  long,  spreading  neck.  Grayish 
white  porcelanous  ware  covered  with  olive-green  celadon 
glaze,  with  metal  bands  where  the  three  pieces  of  which  the 
original  consists  join.  The  lowest  division  is  regularly  crack¬ 
led;  the  two  top  ones  are  not.  At  the  foot  the  earth  has 

[  55  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


slightly  reddened  and  the  base  is  covered  with  crackled  celadon 
glaze. 

Lung  ch’iian  ware:  Sung  dynasty. 

H.  32^2  in.  D.  \i]/2  in. 

256  Vase  with  ovoid  body,  tall  cylindrical  neck  with  spreading 
mouth,  and  slightly  spreading  base.  Gray-white  porcelanous 
ware  burnt  rusty  brown  at  the  raw  edge  of  the  base  and 
covered  with  a  beautiful  gray-green  celadon  glaze  of  faint 
bluish  tone.  On  the  body  is  a  bold  peony  scroll  in  relief,  and 
below  it  a  belt  of  stiff  plantain  leaves  carved  in  relief.  On  the 
neck  are  three  peony  sprays  in  relief  between  two  bands  of 
wheel-made  ridges.  The  mouth  has  a  metal  band. 
Lung-ch’iian  ware:  Sung  dynasty. 

H.  19 in.  D.  11  in. 

« 

257  Baluster-shaped  vase  of  gray-white  porcelanous  ware  red¬ 
dened  in  the  firing.  Covered  with  fine  grayish  green  celadon 
glaze.  Decorated  with  a  band  of  flowering  branches;  ribbed 
on  the  neck  and  fluted  on  the  lower  part.  A  waster  found  on 
the  spot  of  the  Lung-ch’iian  kilns. 

Lung-ch’iian  ware:  Sung  dynasty. 

H.  9 $4  in.  D.  4 yi  in. 

258  Fluted  bowl  of  gray-white  porcelanous  ware,  reddened  in  the 
fire.  Covered  with  a  fine  blue-green  celadon  glaze.  A  waster 
found  on  the  site  of  the  Lung-ch’iian  kilns. 

Lung-ch’iian  ware:  Sung  dynasty. 

H.  3  >6  in.  D.  in. 

259  Vase  and  cover  of  grayish  white  porcelanous  ware  reddened 
in  the  fire  and  covered  with  smooth  gray-green  glaze.  Deco¬ 
rated  with  a  dragon  moulded  in  the  round  and  encircling  the 
neck;  around  the  base  is  a  band  of  formal  leaves;  on  the 
cover  is  a  squatting  bird. 

Lung-ch’iian  ware:  Sung  dynasty. 

H.  9^4  in-  D.  5  in. 

260  Pot;  low,  barrel-shaped.  Grayish  white  porcelanous  ware 
burnt  red  in  the  firing  and  covered  with  a  blue-green  trans¬ 
parent  glaze  accidentally  crackled  and  decorated  with  a 
moulded  pattern  of  a  formal  scroll  of  flowers  and  leaves 

[56] 


LUNG-CH’UAN  WARE  OR  CELADON 

between  two  rows  of  knobs;  simulated  mask  and  ring  handles. 
Lung-ch’uan  ware:  Sung  dynasty. 

H.  6}i  in.  D.  9^  in. 

261  Incense-burner  of  hard  porcelanous  ware  burned  red  in  the 
firing.  Covered  with  a  beautifully  crackled  blue-green  glaze. 
Lung-ch’iian  ware:  Sung  dynasty. 

H.  32<in.  D.  5K  in. 

262  Shallow  bowl  with  straight  sides;  of  grayish  white  porcelanous 
ware,  covered  with  beautiful  bluish  green  celadon  glaze.  A 
waster  found  on  the  site  of  the  Lung-ch’uan  kilns. 
Lung-ch’iian  ware:  Sung  dynasty. 

H.  1  pi  in.  D.  5^  in. 

263  Shallow  bowl  with  gracefully  fluted  exterior.  Gray  porce¬ 
lanous  ware  burnt  brown  at  the  foot  rim.  The  glaze  is  ice- 
green  celadon  with  complex  crackle,  and  the  surface  has  a  dull 
lustre  and  the  texture  of  sugar  icing. 

Sung  dynasty:  perhaps  Tung  Ching  ware  made  near  K’ai- 
feng  Fu. 

D.  6^i  in. 

264  Bowl  of  conical  shape,  slightly  rounded;  light  gray  paste  with 
dull  gray-green  glaze  over  white  slip. 

Northern  Chinese:  Sung  dynasty. 

H.  2  in.  D.  534  in. 

265  Cup  of  conical  shape  with  small  foot.  Grayish  white  porce¬ 
lanous  ware,  reddened  in  the  firing  and  covered  with  a  beauti¬ 
ful  smooth  gray-green  glaze. 

Lung-ch’iian  ware:  Sung  dynasty. 

H.  2  in.  D.  5  in. 

266  Fluted  bowl.  Gray-bufF  ware  covered  with  a  thick  green  glaze, 
regularly  crackled;  at  the  lip  the  clay  has  darkened  in  the 
firing  and  shows  through  the  glaze. 

Celadon:  Sung  dynasty. 

H.  4 Yt,  in.  D.  9 y%  in. 

267  Bowl  of  conical  form  with  small  foot.  Gray  porcelanous  ware 
with  olive-green  celadon  glaze  faintly  clouded  with  gray. 

[  57  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


Inside  is  a  boldly  carved  scroll  with  a  large  peony  flower  and 
foliage.  A  wheel-made  ring  on  the  outside  below  the  mouth. 
Probably  northern  Chinese:  Sung  dynasty. 

H.  'lYi  in.  D.  8  in. 

268  Bowl  of  globular  form  with  spreading  lip;  the  outside  deco¬ 
rated  with  lotus  leaves  carved  in  the  dark  gray  paste.  A  white 
slip  was  applied  under  the  transparent  olive-green  glaze. 
Corean  or  northern  Chinese:  Sung  dynasty. 

H.  2}^  in.  D.  5  in. 

269  Fluted  bowl  of  conical  form,  slightly  curved  sides,  and  small 
foot.  Light  gray  porcelanous  earth  turned  brown-red  in  the 
firing  and  covered  with  an  olive-green  celadon  glaze. 
Lung-ch’uan  ware:  Sung  dynasty. 

H.  in.  D.  8  in. 

270  Bowl  of  conical  form  with  gently  rounded  sides  and  small  foot. 
Gray  porcelanous  ware  burnt  red  on  the  base  rim.  Beautiful 
ice-like  glaze  of  deep  celadon  green  with  olive  tone,  sparsely 
crackled.  The  exterior  is  carved  in  shallow  relief  with  petals 
suggesting  a  lotus  flower.  This  bowl  was  excavated  in 
Rhages,  Persia. 

Lung-ch’iian  ware:  Sung  dynasty. 

H.  in.  D.gyiin. 

271  Fluted  bowl  of  gray  porcelanous  earth  covered  with  gray- 
green  celadon.  Found  in  Rhages,  Persia,  and  dating  in  con¬ 
sequence  from  before  the  destruction  of  that  town  in  1256. 
Lung-ch’iian  ware:  Sung  dynasty. 

H.  4  in.  D.  8  in. 

272  Celadon  shard  of  gray  porcelanous  earth  covered  with  a  gray- 
green  celadon  glaze;  in  design  and  texture  almost  exactly 
like  271.  Found  on  the  site  of  the  Lung-ch’uan  kilns  and 
brought  over  by  Mrs.  Rose  Sickler  Williams. 

Lung-ch’uan  ware:  Sung  dynasty. 

273  Wine  pot:  globular,  on  three  feet  with  erect  handle  in  the 
form  of  a  dragon  ridden  by  a  child  (or  demon).  Grayish 

[58] 


LUNG-CH’UAN  WARE  OR  CELADON 

white  porcelanous  ware  carved  with  design  of  phoenixes  and 
foliage  and  covered  with  a  brown-green  transparent  glaze. 
Lung-ch’iian  ware:  Sung  dynasty. 

H.,  with  handle,  8 X  in.  D.  in. 

274  Bowl  of  rounded  shape  with  straight  sides  on  a  high  foot. 
Hard  gray  ware  covered  with  green  glaze.  Inside  is  a  moulded 
design  of  figures  in  three  panels;  both  inside  and  outside,  a 
“cloud  and  thunder”  border. 

Lung-ch’iian  ware:  Yuan  dynasty. 

H.  4 >6  in.  D.  67^  in. 

275  Bowl  of  conical  form  with  wide  mouth  and  small  foot,  the 
sides  gently  curving.  Grayish  porcelanous  ware  with  orna¬ 
ment  moulded  in  shallow  relief  under  a  transparent  green 
celadon  glaze  of  brownish  tint  which  has  run  into  a  pool  at  the 
bottom  inside.  In  the  center  is  a  geometrical  quatrefoil 
design  inclosing  stiff"  foliage,  surrounded  by  four  formal 
flowers  and  leaves.  Border  of  ovals  inclosing  lozenges.  The 
outside  is  scored  with  radiating  vertical  lines. 

Probably  northern  Chinese:  Yuan  dynasty. 

H.  3  in.  D.  in. 

276-277  Pair  of  bowls  of  shallow  conical  form  with  small  foot  and 
wide  mouth.  Buff  porcelanous  ware  with  olive-green  celadon 
glaze.  The  interiors  are  carved  with  a  beautiful  design  of 
peony  flowers  and  foliage  shaded  with  combed  lines.  One  has 
foliage  on  the  exterior:  sand-marks  under  the  base. 

This  kind  of  ware  is  nearly  related  in  style  to  the  Corean. 
Probably  northern  Chinese:  Sung  dynasty. 

H.  2  in.  D.  6%  in. 

278  Wine  jar  with  broad  ovoid  body, short  neck,  and  wide  mouth: 
the  bottom  is  formed  by  a  saucer  which  has  been  dropped  into 
place,  held  in  by  the  curve  of  the  sides,  and  secured  by  the 
glaze.  Gray  porcelanous  ware  burnt  rusty  brown  at  the  raw 
edges  of  the  mouth  and  base.  Celadon  glaze  with  complex 
crackle:  a  wide  straight  mesh  inclosing  a  small,  irregular  net¬ 
work  of  faint  lines.  The  color  inside  is  greenish  gray  with  a 
tinge  of  blue;  outside  it  is  jade-green,  and  the  surface  is 
softened  by  decay. 

Lung-ch’iian  ware:  Sung  dynasty. 

H.  10^  in.  D.  131^  in. 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


279  Shallow  bowl.  Gray  porcelanous  ware  burnt  red  at  the  foot 
rim.  The  glaze  is  green  celadon  of  bluish  tinge.  In  the  bottom 
of  the  bowl  two  unglazed  fishes  have  been  burnt  a  dark  brown. 
Lung-ch’uan  ware:  Sung  dynasty. 

H.  2  in.  D.  6}i  in. 

280  Small,  pear-shaped  jar  with  wide  mouth.  Hard  gray  porce¬ 
lanous  ware  burnt  red  and  covered  with  crackled  gray  glaze. 
Celadon  type:  Sung  dynasty. 

H.  in.  D.  3  Ys,  in. 


[60] 


COREAN  WARE 


281  Bottle  with  globular  body  and  tall,  slender  neck  of  cylindrical 
form  with  a  ring  at  the  top.  Gray  porcelanous  ware  with 
inlaid  ornament  in  white  and  black  under  a  greenish  gray 
celadon  glaze  faintly  frosted  with  brown.  On  the  sides  are 
four  sprays  of  alternating  lotus  and  chrysanthemum;  on  the 
shoulder  is  a  ju-i  border;  and  there  is  a  narrow  band  of  key- 
fret  at  the  mouth  and  an  incised  border  of  leaf  and  tongue 
pattern  at  the  base. 

Corean:  Korai  period. 

H.  13  in.  D.  6}4  in. 

282  Ewer  of  double  gourd  form  with  long  spout  and  twisted  handle 
with  knot-shaped  ring.  Gray  porcelanous  ware  burnt  red  at 
the  base:  sparsely  crackled  celadon  glaze  covering  lightly 
incised  designs  of  lotus  flowers  on  each  side  and  cloud-scrolls 
on  the  neck. 

Corean:  Korai  period. 

H.  13  in.  D.,  with  spout  and  handle,  9  in. 

283  Ewer  with  pear-shaped  body  slightly  flattened  on  the  shoul¬ 
ders  and  moulded  in  shallow  vertical  lobes,  plain  spout, 
and  grooved  handle  with  ring  to  attach  thecover.  The  latter 
is  surmounted  by  a  lotus  flower,  the  petals  modeled  in  full 
relief,  in  which  a  bird  has  settled.  Gray  porcelanous  ware  with 
crackled  gray-green  celadon  glaze  slightly  frosted  with  brown. 
On  the  shoulders  are  lightly  etched  floral  sprays.  Spur-marks 
beneath. 

Corean:  Korai  period. 

H.  10%  in.  D.,  with  spout  and  handle,  7  in. 

284  Vase  of  oval  form  with  small  neck  and  low,  cup-shaped  mouth. 
Gray  porcelanous  ware  of  fine  texture,  burnt  red  at  the  base 

[  61  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


and  ornamented  with  a  beautiful  carved  design  under  a  soft 
greenish  gray  celadon  glaze  of  bluish  tone:  two  phoenixes 
{f eng  huang)  in  a  peony  scroll  with  etched  details  covering  the 
entire  surface. 

Corean:  Korai  period. 

H.  1 1  in.  D.  in. 

285  Baluster-shaped  vase  with  small,  short  neck;  of  gray  porce- 
lanous  ware  with  inlaid  decoration  of  flying  herons  and  clouds, 
and  covered  with  a  green-gray  celadon  glaze. 

Corean:  Korai  period. 

H.  13X  in.  D.  in. 

286  Vase  and  stand,  the  former  of  globular  form  with  short,  straight 
neck  and  narrow  mouth.  Gray  porcelanous  ware  with  inlaid 
ornament  in  white  and  black  under  a  partially  crackled  gray- 
green  celadon  glaze  lightly  frosted  with  brown.  On  the 
sides  are  three  large  phoenixes  ( feng  huang )  with  scrolled 
tails  and  three  peony  sprays  between.  Sand-marks  under¬ 
neath.  The  stand  is  saucer-shaped,  with  a  raised  ring  in 
which  the  vase  fits,  and  four  feet,  each  ornamented  with  a 
lion  mask. 

Corean:  Korai  period. 

H.  8  in.  D.  of  vase,  8 }i  in.  Total  H.  1 in. 

287  Winepotwith  ovoid  body,  grooved  handle  with  twig-shaped  ring 
and  Greek  palmette  attachment,  spout  with  lotus-leaf  mould¬ 
ing,  and  lotus-flower  cover.  Gray  porcelanous  ware  with  soft 
greenish  gray  celadon  glaze,  lightly  crackled.  On  the  body  is 
a  bold  melon-vine  scroll  with  large  leaves,  small  blossoms,  and 
tendrils  reserved  in  a  dark  gray-green  ground:  the  details 
throughout  are  finely  etched  in  the  paste.  The  cover  has 
radiating  scrolls  inlaid  in  white.  Spur-marks  beneath. 

Corean:  Korai  period. 

H.  7  in.  D.,  with  spout  and  handle,  8?4  in. 

288  Wine  pot  with  oval,  melon-shaped  body,  plain  spout,  grooved 
handle  with  twig-shaped  ring,  and  lotus-pattern  cover.  Gray 
porcelanous  ware  with  inlaid  ornament  in  white  and  black 
under  a  smooth  greenish  gray  glaze  of  bluish  tone.  Lotus 
and  chrysanthemum  designs  alternate  on  each  lobe:  below  is  a 

[62] 


COREAN  WARE 


border  of  carved  leaf  and  tongue  pattern,  and  on  the  shoulder 
is  a  band  of  petal  ornament  inlaid. 

Corean:  Korai  period. 

H.  8 yi  in.  D.,  with  spout  and  handle,  8y£  in. 

289  Bottle  with  pear-shaped  body,  tall  tapering  neck,  and  spread¬ 
ing  mouth.  Gray  porcelanous  ware  with  inlaid  ornament  in 
white  and  black  under  a  smooth  greenish  gray  celadon  glaze 
of  bluish  tone,  sparsely  crackled  and  frosted  in  places  by 
decay.  On  the  body  are  four  medallions  of  lotus  and  chrys¬ 
anthemum  designs:  between  them  are  pendants  of  small 
circles  hanging  from  a  band  of  similar  circles,  the  spaces  filled 
with  chrysanthemum  sprays.  Below  is  a  border  of  lotus  pet¬ 
als,  and  above  a  band  of  chrysanthemum  flowers.  On  the 
neck  are  four  tapering  scrolls  and  a  wave  border. 

Corean:  Korai  period. 

H.  14  in.  D.  8  in. 

290  Bulbous  bottle  with  short  neck  and  two  small  ring  handles; 
of  grayish  porcelanous  ware  turned  red  in  firing,  with  incised 
formal  design  and  ribbed  body  covered  with  transparent 
celadon  glaze. 

Corean:  Korai  period. 

H.  6  in.  D.  in. 

291  Bottle  in  the  form  of  a  floating  duck;  dark  gray  paste  red¬ 
dened  in  the  fire,  covered  with  white  slip  in  which  the  lines  of 
the  feathers  and  wings  have  been  incised,  the  whole  covered  by 
a  beautiful  gray-green  glaze,  finely  crackled. 

Corean  or  northern  Chinese. 

L.  71^  in. 

292  Bowl:  flat,  bulbous,  with  wide,  flaring  rim.  Gray  porcelanous 
ware  decorated  inside  with  an  engraved  design  of  six  flowers 
and  a  border  of  thunder  pattern  under  a  smooth  gray-green 
celadon  glaze  of  bluish  tinge.  Six  spur-marks  under  the 
covered  base. 

Corean:  Korai  period. 

H.  in.  D.  yyi  in. 

293  Bowl  with  small,  flat  foot  and  rounded  sides.  Gray  porcela¬ 
nous  ware  covered  with  a  gray-green  celadon  glaze  of  bluish 

[63] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


tinge.  In  parts  covered  with  unintentional  and  large  crackle. 
Three  spur-marks  under  the  covered  base. 

Corean:  Korai  period. 

H.  3  in.  D.  8 in. 

294  Bowl  of  conical  shape  with  rounded  sides  of  hard  buff-  ware 
covered  with  a  bluish  green  transparent  celadon  glaze.  Out¬ 
side  decorated  with  double  rows  of  carved  lotus  leaves.  The 
foot,  covered  with  glaze,  has  three  spur-marks. 

Corean:  Korai  period. 

H.  6?4  in-  D.  3  yA  in. 

295  White  bowl  of  conical  form  with  small  foot.  Thin  porcelanous 
ware,  burnt  red  at  the  unglazed  base.  Inside  is  engraved  a 
design  of  boys  and  shell-like  scrolls.  Greenish  transparent 
glaze,  lightly  crackled. 

Corean:  Korai  period. 

H.  2J/&  in.  D.  8  in. 

296  Bowl  with  foot  rim  and  slightly  rounded  sides.  Gray  porce¬ 
lanous  ware  covered  with  a  light  brown  celadon  glaze  evenly 
crackled.  Decorated  inside  with  a  carved  band  of  dragons 
and  a  lotus  flower  on  the  bottom.  Three  spur-marks  on  the 
covered  base. 

Corean:  Korai  period. 

H.  3  ]4  in.  D.  6  in. 

297  Saucer  of  white  porous  porcelanous  ware  with  a  thin  greenish 
glaze,  the  broad  rim  unglazed.  Decorated  with  slip  design, 
ducks  and  fishes  in  a  lotus  pond.  The  thinly  glazed  base 
without  spur-marks,  fired  right  side  up. 

Corean:  Korai  period. 

H.  1  yi  in.  D.  5  in. 

298  Saucer  of  white  porcelanous  earth  with  concave  bottom  and 
rim  left  unglazed.  Covered  with  a  white  transparent  glaze 
and  decorated  with  a  simple  design  of  a  dolphin.  Found  in 
Corea. 

Pai  Ting  ware:  Korai  period. 

H.  1  in.  D.  5^6  in. 

299  Ewer  with  melon-shaped  body,  high  neck  contracted  in  the 
middle,  long  spout,  and  flat  handle  with  grooved  edges  and  a 

[64] 


COREAN  WARE 


ring  at  the  top.  White  porcelanous  ware  of  porous-looking 
texture  with  thick  cream-white  glaze  of  Ting  type,  slightly 
crackled.  A  wheel-made  ring  on  the  neck  below  the  lip. 
Sand-marks  beneath. 

This  type  belongs  to  the  class  of  haku-gorai ,  or  ‘‘white  Corean.” 
Corean:  Korai  period. 

H.  8 in.  D.,  with  spout  and  handle,  5^  in. 

300  Vase  with  oval,  melon-shaped  body,  high  neck  with  wide 
flaring  mouth,  and  low  foot  moulded  with  leaf  and  tongue 
pattern.  On  the  neck  is  a  reeded  band  of  slender  leaf  and 
tongue  pattern.  Translucent  white  porcelain  with  porous- 
looking  body  and  pearly  white  glaze  faintly  browned  by  age. 
This  rare  and  singularly  beautiful  vase  recalls  both  Greek  and 
Egyptian  pottery  in  the  details  of  its  design. 

Corean:  Korai  period. 

H.  \o%  in.  D.  6  in. 

301  Dish  in  the  shape  of  a  six-petaled  flower.  Translucent  white 
porcelanous  ware  entirely  covered,  except  at  parts  of  the  rim, 
with  a  creamy  white  glaze  showing  the  Ting  tear  drops.  Fired 
right  side  up,  but  showing  no  sign  of  spur-marks  though  the 
base  is  entirely  glazed. 

Corean:  Korai  period. 

H.  1  yi  in.  D.  6^4  in. 

302  Small  pot  with  cover  of  gray  porcelanous  ware  with  a  smooth 
gray-green  celadon  glaze  of  bluish  tinge.  Three  spur-marks 
under  the  partly  covered  base. 

Corean:  Korai  period. 

H.  1  yi  in.  D.  3  in. 


303  Bowl:  conical  with  rounded  sides;  hard  gray  ware  covered 
with  a  double  slip,  one  rose-pink,  the  other  white,  and  a  green¬ 
ish  thin  transparent  glaze:  inside,  three  spur-marks. 
Tz’u-chou  type:  Sung  dynasty. 

H.  3  in.  D.  yj/&  in. 


[65] 


SCULPTURE  AND  BRONZES 


304  Vase  with  two  rows  of  figures  in  relief,  representing  mourners 
with  a  coffin,  a  table  of  offerings,  and  musicians.  Hard  gray¬ 
ish  white  stoneware  fired  dark  reddish  brown,  with  black 
glaze  mottled  and  streaked  with  brown. 

Probably  Wei  dynasty. 

H.  in.  D.  6  in. 

305  Pair  of  clasped  hands,  probably  from  an  over-life-size  Lohan. 
Hard,  fine,  yellowish  white  earth  on  a  core  of  rough  reddish 
clay.  Greenish  white,  thin,  finely  crackled  glaze  with  brown 
weather  stains. 

Ascribed  to  the  T’ang  dynasty. 

H.  7  in.  D.  4>2  in. 

306-307  Two  figures  of  seated  Lohans.  Of  reddish  buff  soft  ware, 
covered  with  white  slip  and  green  and  yellow  glazes,  the  green 
finely  crackled  and  in  parts  iridescent. 

Attributed  to  the  T’ang  dynasty. 

H.  9 in.  W.  ^]/2  in. 

308  Horse’s  head:  dark  gray  earth  fired  red  and  unglazed. 

Han  dynasty. 

H.  8y6  in.  D.  11  in. 

309  Cock:  reddish  brown  heavy  clay,  with  no  trace  of  glaze. 
Early  Han  dynasty. 

H.  6}4  in.  D.  7  in. 

310  Boar:  gray  clay  without  traces  of  glazing. 

Early  Han  dynasty. 

H.  5  yi  in.  D.  9 in. 

[  66  ] 


SCULPTURE  AND  BRONZES 


3 1 1  Prehistoric  animal  of  soft  reddish  clay  covered  with  white  slip; 
the  glaze  has  altogether  disappeared. 

Early  Han  dynasty. 

H.  in.  D.  7  in. 

312  Rabbit  of  light  buff  clay,  no  slip,  the  glaze  entirely  disin¬ 
tegrated. 

Early  Han  dynasty. 

H.  4 in.  D.  7^  in. 

313  Lion  of  buff  clay  covered  with  white  slip,  with  traces  of 
painting;  the  glaze  has  disappeared. 

Han  dynasty. 

H.  2  in.  D.  4 ]/%  in. 

314  Figure  of  a  pawing  horse,  richly  caparisoned,  with  saddle 
covered  by  a  floating  saddle-cloth.  Traces  of  unfired  coloring. 
Han  dynasty. 

H.  I5>2  in. 

315  Tomb  figure:  a  tall  lady  with  hands  joined  under  a  long  scarf; 
of  light  buff  soft  ware  slightly  baked  and  decorated  with 
unfired  colors. 

Han  dynasty. 

H.  12  in.  D.  3  in. 

316  Tomb  figure:  a  tall  lady  made  of  light  soft  ware  slightly 
baked  and  decorated  with  unfired  black  lines. 

Han  dynasty. 

H.  10  in.  D.  3  in. 

317  Pair  of  tomb  figures,  each  representing  a  tall  lady  with  a 
green  dress  and  orange  scarf.  Light  buff  clay  slightly  baked, 
the  colors  unfired. 

Han  dynasty. 

Each:  H.  \o}4  in. 

318  Tomb  figure:  a  lady  sitting  on  the  ground;  of  fine  white  clay 
covered  with  thin  yellow  glaze  slightly  fired  and  with  a  ribbon 
painted  in  brilliant  red. 

Han  dynasty. 

H.  5 X  in. 


[67] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


319  Tomb  figure:  a  lady  with  long,  flowing  robes  and  curious 
horned  head-dress,  playing  on  a  cymbal.  Traces  of  unfired 
coloring. 

Han  dynasty. 

H.  6^  in.  D.  324  in. 

320  Running  pig  of  white  marble. 

Han  dynasty. 

H.  1 X  in.  D.  4^2  in. 

321  Figure  of  a  seated  kylin:  stone  of  slate  and  yellow-brown 
color. 

Han  dynasty. 

H.  11 in.  D.  7  in. 

322  Figure  of  Kuan  Yin,  with  richly  ornamented  halo  and  crown, 
seated  on  a  throne  beneath  a  conventionalized  bo  tree.  Rect¬ 
angular  pedestal  decorated  in  relief  with  adoring  children  on 
lotus  flowers  in  a  lotus  pond.  White  marble  with  traces  of 
polychromy. 

Wei  dynasty. 

H.  13  in.  D.  6 yi  in. 

323  Stone  sculpture  in  the  form  of  a  small  stele.  On  the  front  is  a 
seated  Buddha  with  an  ornamental  halo  incised  with  Buddha 
figures;  beside  him  are  two  attendants  on  lotus  buds.  The 
back  of  the  stele  is  decorated  with  incised  designs  in  three 
rows,  the  upper  one  containing  two  figures  making  offerings 
to  a  central  figure  seated  on  a  throne,  the  two  lower  ones, 
figures  in  arches.  On  the  sides  of  the  stele  are  dragons  in  low 
relief;  the  top  has  been  broken  off. 

The  inscription  puts  the  date  as  485  A.  D. 

Wei  dynasty. 

H.  12  in.  W.  7  in. 

324  Statue  of  Narayiien,  protector  of  Buddha;  white  marble. 
T’ang  dynasty. 

H.  26  in. 

325  Standing  figure  of  Buddha  in  white  marble,  the  archaic  folds 
of  drapery  showing  strong  Indian  influence. 

T’ang  dynasty. 

H.  41  yi  in. 


[68] 


SCULPTURE  AND  BRONZES 


326  White  marble  Buddha;  standing  figure  in  a  simply  draped 
robe;  the  hands  are  in  the  position  of  encouragement. 

T’ang  dynasty. 

H.  38  in. 

327  Black  marble  figure  of  Kuan  Yin,  richly  dressed  and  jeweled. 
She  holds  in  her  left  hand  a  lotus  blossom,  in  her  right  a  vase, 
and  stands  upon  a  double  lotus  throne. 

Wei  dynasty. 

H.  44  in. 

3  28  Stone  figure  of  Kuan  Yin,  standing  on  a  lotus  throne  holding  in 
her  hand  a  lotus  flower;  sculptured  in  full  relief. 

Wei  dynasty. 

H.  27  in.  W.  8  $4  in. 

329  Stone  figure  of  an  adoring  Bodhisattva  kneeling  with  clasped 
hands  on  a  double  lotus  throne. 

T’ang  dynasty. 

H.  22*4  in. 

330  Stone  slab,  probably  an  altar  frontal,  carved  in  relief  and 
pierced.  In  the  center  four  Bodhisattvas  standing  on  lotus 
flowers  uphold  and  adore  a  lotus  bud  partly  in  the  shape  of  an 
Indian  stupa  surmounted  by  a  phoenix  with  halo  and  out¬ 
spread  wings.  On  the  sides  two  haloed  warriors  are  standing, 
one  on  two  lions,  the  other  on  a  tiger  and  a  ram.  Between 
these  in  each  of  two  openwork  panels  two  kneeling  saints  hold 
flaming  jewels,  while  the  space  above  these  panels  is  filled 
in  with  rows  of  sitting  figures  in  beaded  circles  and  elaborate 
framework.  The  piece  shows  strong  Indian  and  Persian 
influence. 

T’ang  dynasty. 

H.  23^  in.  L.  7  ft.  7^  in. 

331  Two  stone  slabs  each  elaborately  carved  with  architectural 
border  above  a  row  of  eight  circles  with  beaded  and  carved 
frames,  each  circle  containing  a  sitting  figure.  The  figures 
show  strong  Persian  influence  and  the  style  of  both  pieces  is 
very  like  that  of  No.  330,  although  they  do  not  fit  the  piece. 
T’ang  dynasty. 

H.  7p2in.  L.  373^^. 


[69] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


332  Semicircular  stone  slab  on  which  is  engraved  a  scene  represent¬ 
ing  Buddha  on  a  throne  under  a  canopy  preaching  in  a  palm 
grove  to  a  large  gathering  of  Bodhisattvas,  guardians  of  the 
lower  world,  angels,  priests,  and  demons.  The  lower  part  is 
covered  with  a  beautiful  band  of  scrollwork. 

T’ang  dynasty. 

H.  34  in.  L.  4  ft.  6}4  in. 

333  Square  stone  slab  carved  with  circular  medallion  containing  a 
design,  a  seated  Kuan  Yin  after  Wu  Tao  Tzu,  and  three 
inscriptions  translated  as  follows: 

At  the  right:  the  picture  of  Buddha  incised  on  stone  was 
among  the  treasures  of  the  Emperor  Tai  Tsung,  of  the  T’ang 
dynasty.  Together  with  the  “Six  Horses”  and  the  “Chao 
Ling”  picture,  it  was  deposited  in  an  old  resting-place  at  Ku 
Kou.  A  farmer  found  it,  and,  thinking  that  it  was  only  a 
square  stone,  took  it  home  and  gave  it  to  his  daughter  as  a 
stone  on  which  she  could  wash  clothes.  She  observed  that  the 
reflected  light  from  the  stone  filled  her  whole  room,  and  she 
continued  to  polish  it  until  it  was  like  gold.  It  became  a 
family  treasure,  and  she  hid  it  away  from  those  who  came 
asking  to  see  it.  After  I  became  Magistrate  of  this  district,  I 
found  this  stone  in  the  village  ol  Hsi  Han.  I  presented  it  to 
the  Pao  Ning  Temple  on  the  fifteenth  day  of  the  ninth  moon  of 
the  Kuei  Mao  year  of  K’ang  Hsi  (second  year) —  (A.  D.  1663). 

(Signed)  Hsu  K’ai-hsi,  of  Ho  Hsui. 

At  the  bottom: 

Namah  Kuan  Shih  Yin 
In  the  beginning  is  Buddha 
In  the  end  is  Buddha 

Buddha  and  his  Law  have  made  me  eternally  happy  in  my 
serenity. 

In  the  morning  I  think  of  Buddha 

In  the  evening  I  think  of  Buddha 

All  my  thoughts  flow  from  my  fortunate  fate 

In  my  rising  thoughts  Buddha  is  ever  in  my  mind. 

When  I  was  wrapped  in  swaddling  clothes  and  lost  my  beloved 
father  I  inquired  in  what  way  I  could  rescue  him  from  purga¬ 
tory  and  bring  him  to  the  heavenly  heights.  There  was  no 
other  way  than  that  of  Buddha. 

Recently  I  have  acquired  two  pictures  by  Wu  Tao  Tsu  of  the 
T’ang  dynasty.  I  gave  instructions  to  have  them  copied  on 

[  70  ] 


SCULPTURE  AND  BRONZES 


stone  by  artisans,  and  have  written  a  laud  at  the  side  of  the 
pictures  to  perpetuate  the  record  of  them. 

My  desire  is  that  all  who  see  this  picture  and  read  my  com¬ 
mendation  of  it  should  be  spared  the  bitter  experience  of  losing 
a  father  in  youth. 

Hsiao  Sheng,  2nd  year  (A.  D.  1095),  Tsing  Ming  (Easter 

Day). 

Written  by  Chao  Hung,  of  Tien  Hsui  District. 

Carved  by  Wei  Ming,  of  Ch’i  Yang. 

At  the  left :  a  holy  laud  in  praise  of  Kuan  Shih  Yin. 

Sung  dynasty.  1095  A.  D. 

Square,  in. 

334  Large  fish  bowl:  semi-globular  with  flat  lip  and  four  mask  and 
ring  handles.  Decorated  inside  with  swimming  ducks,  fishes, 
and  tortoises  in  relief;  outside  with  three  horizontal  bands  of 
ornament  showing  archaic  hunting  scenes  separated  by  narrow 
bands  of  formal  ornament.  The  decoration  is  incised  and  the 
incisions  filled  with  a  whitish  paste.  The  handles  are  in  the 
form  of  monster  heads  and  the  rings  have  incised  ornament; 
around  the  foot  rim  is  a  plaited  cord  in  relief. 

Tsin  dynasty,  found  in  Si-An-Fu. 

H.  11  in.  D.  20  in. 

335  Bronze  sacrificial  vessel  called  “Yi.”  Deep  body,  wide 
mouth,  four  hollow  cast  handles  surmounted  by  horned 
heads  and  with  square  drops.  Body  boldly  decorated  with 
Chou  ornaments  representing  a  head.  Around  the  base  an 
ornament  of  dragons  in  pairs  repeated  four  times.  Inscription 
incised  in  the  bottom.  Areas  within  and  without  of  mirror¬ 
like  surface. 

Chou  dynasty. 

H.  8X  in-  D.  9^  in. 

336  Bronze  sacrificial  vessel  called  “Yi.”  Deep  body,  wide  mouth, 
two  loop  handles  with  drops  surmounted  by  rams’  heads. 
Ram’s  head  mask  on  each  side  amidst  Chou  ornament  in 
shape  of  a  dragon.  Inscription  on  the  bottom. 

Chou  dynasty. 

H.  6K  in-  D.  9  in. 

337  Bronze  sacrificial  vessel,  called  “Yi,”  with  two  handles  in  the 
shape  of  peacocks.  The  body  is  decorated  with  Chou  orna- 

[  71  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


ment  suggesting  a  face;  the  upper  band,  with  archaic  dragons. 
The  bottom  is  curiously  decorated  with  an  animalistic  design. 
The  patina  is  bronze  gilt  with  dark  green  and  crimson  corro¬ 
sion.  Inscription  of  eight  letters  on  the  bottom. 

Chou  dynasty. 

H.  5 X  in.  D.  7  in. 

338  Bronze  vase  in  the  shape  of  a  bottle  of  flat,  circular  form  with 
short,  round  neck  and  square  base.  On  the  neck  are  loop 
handles  and  silver  inlaid  rings.  Covered  all  over  with  a 
symmetrical  pattern  of  silver  inlay. 

Han  dynasty. 

H.  12 X  in.  D.  11  in. 

339  Bronze  sacrificial  vessel  called  “Lai,”  of  quadrilateral  bulbous 
shape,  square  base  and  neck,  with  two  ring  and  mask  handles. 
The  flat  cover,  with  chamfered  edges  and  surmounted  by  four 
erect  rings,  serves  as  a  saucer.  The  ornament  which  covers 
the  whole  surface  in  geometrical  design  is  inlaid  with  pieces  of 
malachite  stuck  in  a  kind  of  composition;  other  parts  are 
filled  with  bent  and  hammered  metallic  wire.  The  handles  in 
the  shape  of  dragons’  heads  are  beautifully  cast. 

Han  dynasty:  found  in  1913  in  a  ruined  tomb  near  Yu-Ling- 
Fu,  Shensi. 

H.  20 X  in.  D.  10 yi  in. 

340  Bronze  sacrificial  vessel  “Lai,”  in  the  shape  of  an  eagle.  The 
surface  is  covered  with  a  beautiful  incised  ornament,  the  eyes 
inlaid  with  gold,  as  are  four  letters  of  early  form  on  the  comb. 
The  beak  is  hinged  so  as  to  serve  as  a  spout.  From  Tai-Yuan- 
Fu. 

Late  Chou  dynasty. 

H.  10 X  in.  D.  9  in. 

341  Libation  vessel  in  the  form  of  a  low,  broad  ewer,  having  at  one 
end  a  handle  in  the  shape  of  a  horned  monster  and  at  the  other 
a  short  spout.  The  vessel  stands  on  three  feet  and  has  a 
flat,  detached  cover  with  a  circular  band  of  incised  scrollwork; 
similar  bands  of  ornament  with  a  pointed  edge  border  the 
lip  and  spout.  The  handle  is  moulded  in  relief  and  set  with 
small  turquoises.  On  the  upper  surface  of  the  spout  is  a 
monster’s  head  in  low  relief.  The  surface  is  covered  with  a 

[72] 


SCULPTURE  AND  BRONZES 


beautiful  green  patina  of  lacquer-like  smoothness  with  a 
slight  incrustation. 

Chou  dynasty. 

H.  in.  D.  1 2 ^2  in. 

342  Sarcophagus  in  reduced  size,  of  gilt  bronze:  on  a  terrace  with 
an  openwork  fence  stands  an  altar  supported  by  four  guar¬ 
dians.  Upon  this  is  a  coffin  with  overhanging  lid,  decorated 
on  the  sides  with  dragons  on  clouds  and  a  tiger;  at  the  head 
is  the  red  bird  (of  the  morning),  at  the  foot  coiled  serpents. 
Inside  is  a  smaller  coffin,  also  gilt,  undecorated. 

T’ang  dynasty. 

H.  14  in.  L.  13  in. 

343  Masque  of  bronze  gilt  in  the  shape  of  a  door  knocker;  sup¬ 
posed  to  be  a  coffin  ornament.  Horned  dragon  head  holding 
in  its  mouth  a  ring  formed  by  two  dragons  holding  the  sacred 
jewel. 

T’ang  dynasty. 

L.  13^  in.  D.  8  in. 


[73] 


APPENDIX 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

BY 

ROSE  SICKLER  WILLIAMS 


INTRODUCTION 

IN  presenting  the  following  work  to  the  public,  the  author 
desires  to  state  that  the  period  assigned  for  research, 
on  a  subject  of  such  magnitude,  was  brief.  It  also  was 
coincidental  with  the  “Second  Revolution”  in  China,  and 
conditions  have  been  somewhat  unfavourable  to  scientific 
research.  Nevertheless,  it  is  believed  that  valuable  sources 
of  information  have  been  unearthed,  from  which  yet  greater 
knowledge  may  be  expected  in  the  future. 

The  sincerest  thanks  of  the  author  are  due  to  the  many 
friends  who  have  aided  in  her  investigations,  both  by  submit¬ 
ting  their  collections  for  examination  and  by  contributing 
information.  The  list  is  too  long  to  be  published ;  but  special 
mention  should  be  made  of  H.  I.  H.  Prince  P’u-lun,  H.  E. 
T’ang  Shao-yi,  H.  E.  Sheng  Hsiian-huai,  (Chao)  Ch’ing 
K’uan,  Hon.  King  Kung-pah  of  Peking,  Dr.  Chao  S.  Bok  of 
Tangshan  Engineering  College,  Mr.  Chun  Chik-yu  of  Hong¬ 
kong,  and  Mr.  Kuan  Mien-chim  of  Peking.  The  unfailing  and 
painstaking  courtesy  and  kindness  of  these  men,  and  their 
deep  interest  in  the  ancient  arts  of  their  country,  promise 
much  for  the  future  of  antiquarian  research  in  China. 

Hearty  thanks  are  also  due  to  Dr.  Morrison  for  the  free  use 
of  his  unique  library,  which,  we  believe,  contains  practically 
all  the  books  and  pamphlets  that  have  been  published  in 
English  and  French  on  the  subject  of  Chinese  pottery. 

The  native  works  consulted  are  the  Hsiang  Yiian-p’ien 

[  79  ] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

Catalogue  (in  the  original  and  in  Dr.  Bushell’s  translation), 
the  T’ao  Lu  (in  the  original  and  in  the  French  of  Julien),  the 
T’ao  Shuo,  and  the  Ko  Ku  Yao  Lun.  Citations  from  other 
Chinese  works,  which  will  be  found  in  the  text,  are  quoted 
in  those  above  mentioned. 

Among  English  writers  consulted  are  Hirth,  Bushell, 
Brinkley,  Hippisley,  and  Hobson. 


[So] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

THE  SUNG  PERIOD 

THE  Sung  dynasty  was  established  in  960  a.d.  by  Chao 
K’uang-yin,  who  adopted  the  dynastic  title  of  T’ai  Tsu. 
His  great  task  was  to  consolidate  the  empire  after  the 
confusion  and  military  despotism  of  the  Wu  Tai,  or  Five 
Dynasties.  During  his  reign,  and  that  of  his  brother  and 
successor  Tai  Tsung,  this  was  fairly  well  accomplished,  but 
the  Empire  of  the  Sungs  was  never  at  peace.  The  Kitan 
Tartars  encroached  upon  it  from  the  northeast,  and  the 
Kingdom  of  Hsia,  led  by  a  pretender  of  the  imperial  family, 
from  the  northwest.  The  Sungs  were  not  successful  warriors. 
They  pursued  a  policy  of  compromise  and  retreat,  some¬ 
times  making  ignominious  terms  with  their  enemies,  and 
finally,  in  1126-27,  falling  back  to  the  south  of  the  Yangtse 
River  and  leaving  the  north  in  the  possession  of  the  Kin  Tar¬ 
tars.  Here,  with  the  great  river  as  a  barrier,  though  still 
continually  harassed  by  their  enemies,  they  managed  to 
maintain  themselves  on  the  throne  until  1278. 

But  it  is  not  with  their  military  vicissitudes  that  we  have 
to  do.  What  interests  us  is  that,  in  spite  of  these,  they 
succeeded  in  making  their  period  a  golden  age  in  China  in 
philosophy,  art,  and  literature.  They  produced  the  great 
historian  Ssu-ma  Kuang;  the  socialist  reformer  Wang  An- 
shih,  who  lived  to  see  his  system  cast  down  and  discredited, 
but  whose  spirit  still  goes  marching  on;  Chu  Hsi,  whose 
commentaries  on  the  classical  writings  have  been  the  standard 
of  orthodoxy  ever  since  his  time;  the  inspired  poet,  states- 

[81] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


man,  and  philosopher  Su  Tung-p’ei;  the  prince  of  painters 
Li  Lung-mien ;  and  a  whole  galaxy  of  immortals  who  may  not 
be  mentioned  here.  To  the  honour  of  the  Sung  rulers  let 
it  be  said  that,  during  their  entire  period,  every  phase  of  cul¬ 
ture  blossomed  and  bore  fruit  under  the  sunshine  of  imperial 
patronage.  It  was  during  their  time  that  the  Chinese  potter 
rose  from  the  rank  of  artisan  to  that  of  artist,  and  it  is  with 
this  achievement  that  we  have  chiefly  to  deal. 

CHINESE  POTTERY  BEFORE  THE  SUNG  PERIOD 

For  the  keramic  products  of  the  Chou  and  Han,  see  “Chinese 
Pottery  of  the  Han  Dynasty,”  by  Berthold  Laufer.  This 
work  is  based  on  personal  investigations  made  by  the  author 
from  1901  to  1904.  The  pieces  described  were  mainly  collected 
in  Hsi-an  Fu,  province  of  Shensi,  where  they  had  been  dug 
from  graves  of  the  Han  period.  They  are  all  of  the  earthen¬ 
ware  class,  and  the  prevailing  glaze  is  green. 

Since  Laufer’s  work  was  published,  very  extensive  and 
important  finds  have  been  made,  chiefly  along  the  line  of  the 
Pien-Loh  Railway  in  Honan.  Peking  is  flooded  with  these 
specimens,  as  well  as  with  clever  imitations  encouraged  by 
the  demand  for  the  originals.  The  collection  of  these  articles 
has  become  quite  a  vogue,  both  with  Chinese  and  foreigners. 
They  are  well  worthy  the  careful  consideration  of  an  expert, 
and  demand  a  volume  to  themselves.  Native  connoisseurs 
believe  that  the  Honan  finds  date  from  the  Han  downward 
through  the  Sung  and  Yiian,  and  hold  that,  in  a  general  way, 
it  is  possible  to  approximate  the  date  by  the  costuming  of 
human  figures,  the  character  of  the  glazes,  etc.  Laufer’s 
work  does  not  give  any  human  figures,  and  gives  but  a  sub¬ 
ordinate  place  to  animals,  though  these  form  a  very  important 
part  of  the  more  recent  discoveries.  The  various  vessels, 
granary  urns,  stoves,  etc.,  described  by  Laufer  are  now  easy 
to  procure  in  the  Peking  shops.  It  should  not  be  very  difficult 
to  detect  the  imitations.  Many  of  the  mortuary  pieces  of 
a  later  date  than  the  Han  rise  above  the  rank  of  earthenware. 

[82] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

Under  the  Wei  dynasty  (220-265)  two  old  potteries  are 
mentioned  as  having  prepared  ware  for  the  service  of  the 
court.  But  probably  the  earliest  kiln  whose  work  rose  above 
the  quality  of  wa,  or  earthenware,  was  the  Tung-ou,  in  what 
is  now  the  province  of  Chehkiang.  This  work  dates  from 
the  Tsin  (265-419),  and  it  is  mentioned  in  the  Ch’a  Ching,  or 
Tea  Classic.  The  glaze  was  green. 

Ching-te-chen  as  a  keramic  centre  began  to  attract  atten¬ 
tion  as  early  as  the  beginning  of  the  seventh  century.  The 
place  was  then  known  as  Ch’ang-nan.  A  potter  who  worked 
there  under  the  Sui  (589-618)  produced  a  green  ware  which 
obtained  for  its  fabricator  the  sobriquet  of  Yao  Yu ,  or 

Keramic  Jade.”  It  is  said  that  the  celadons  had  their  origin 
in  the  attempts  to  imitate  jade,  and  that  white  jade  was  the 
early  ideal  striven  after  in  the  white  wares.  At  this  early 
date  the  Ching-te-chen  (or  rather  the  Ch’ang-nan)  kilns 
were  already  distinguished  by  imperial  patronage. 

Under  the  T’ang  dynasty  we  should  mention  the  Shou  yao , 
a  yellowish  ware  made  in  the  province  of  Anhui ;  the  Yueh  yao , 
a  greenish  ware  compared  to  ice  and  jade — a  decided  improve¬ 
ment  on  its  predecessors,  if  we  may  judge  by  the  enthusiastic 
comments  of  the  Ch’a  Ching  and  other  old  books;  the  Shu 
yao,  a  white  ware  made  in  Ssu-chuan  and  praised  for  its  timbre; 
and  lastly  the  Pise  yao,  or  “secret  colour  ware,”  so  called 
because  it  was  reserved  for  imperial  use.  It  resembled  the 
Yueh  but  was  clearer  and  brighter.  This  ware  was  made 
under  the  patronage  of  the  Ch’ien,  a  family  that  rose  to  power 
at  the  time  of  the  decline  of  the  T’ang,  and  having  been 
assigned  the  principalities  of  Wu  and  Yueh,  ruled  with  their 
capital  at  Hang-chou  for  three  generations,  from  851  to  976, 
when  they  resigned  their  dominion  to  the  Sungs. 

But  the  greatest  triumph  of  keramic  skill  previous  to  the 
Sung  was  the  famous  Ctiai  yao,1  which  supplied  the  model 

1  Since  writing  the  above,  H.  E.  T’ang  Shao-yi  has  told  me  of  a  man  in  Foochow 
who  claims  to  have  a  vase  of  Ch’ai  in  good  condition.  As  there  is  no  means  of 
substantiating  this  statement,  its  chief  interest  lies  in  the  extravagance  of  the 
claim,  Chinese  connoisseurs  having  long  considered  it  difficult,  if  not  impossible, 

[83] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


for  many  of  the  Sung  productions.  It  was  first  made  during 
the  reign  of  Shih  Tsung,  of  the  later  Chou  (954-960),  at 
Cheng-chou  in  Honan.  At  first  it  was  called  the  “imperial 
ware,”  but  afterward  came  to  be  known  as  Cti ai,  from  the 
family  name  of  the  Emperor  who  ordered  its  manufacture. 
It  is  praised  in  the  most  extravagant  terms  by  the  old  writers, 
and  is  said  to  have  been  ch’ing  like  the  sky,  clear  as  a  mirror, 
thin  as  paper,  and  resonant  as  the  musical  stone,  glossy,  fine, 
and  beautiful,  with  delicate  markings  and  colouring,  far  sur¬ 
passing  in  excellence  everything  that  had  preceded  it.  In 
this  description  we  must,  of  course,  make  due  allowance  for 
the  standard  of  comparison  of  the  ancient  writers.  If  it 
were  possible  now  to  discover  and  identify  a  surviving  speci¬ 
men,  we  should  doubtless  find  it  disappointing.  But  at  the 
same  time  we  are  safe  in  assuming  that,  compared  with  its 
contemporaries  and  with  all  that  had  gone  before,  it  was  an 
easy  leader.  The  praise  lavished  upon  it  spurred  the  potters 
of  the  Sung  to  their  supreme  efforts,  and  the  colour  designated 
for  it  by  Shih  Tsung,  “the  blue  of  the  sky  after  rain,”  became 
the  chief  aim  of  all  the  Honan  keramists. 

FAMOUS  KILNS  OF  THE  SUNG  DYNASTY 
The  Ting. 

At  Ting-chou,  in  the  southern  part  of  Chihli.  In  operation 
under  the  Northern  Sung,  probably  from  the  beginning 
of  the  dynasty.  Industry  transferred  to  Ch’ang-nan  when 
the  capital  was  moved  to  the  south,  a.d.  1126-27. 

The  Ju. 

At  Ju-chou,  in  K’ai-feng  Fu.  Established  as  supplementary 
to  the  Ting. 

to  find  a  piece  of  Ch’ai  large  enough  to  form  a  watch  fob  or  a  belt  buckle.  Mr.  T’ang 
describes  the  piece  as  a  melon-shaped  vase  about  ten  inches  high,  of  a  dark  green 
colour  like  the  shell  of  a  crab,  with  small,  regular,  even  crackle  and  a  very  thick 
glaze.  This  does  not  tally  at  all  with  our  ideas  of  the  Ch’ai  as  derived  from  litera¬ 
ture  and  Mr.  T’ang  does  not  credit  the  assertion,  though  he  considers  the  piece 
of  great  interest. 


[84] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 
The  Kuan. 

In  the  capital  city  of  K  ai-feng  Fu.  Established  during  the 
Ta  Kuan  period  (1107).  Transferred  to  Hang-chou  when 
the  court  moved  to  the  south. 

The  Lung-ch’uan. 

The  Old  Lung-ch’iian. 

The  Ko. 

The  Chang  Lung-ch’uan. 

At  the  village  of  Liu-t’ien,  Lung-ch’uan  district,  Ch’u- 
chou  prefecture,  province  of  Chehkiang.  The  Liu-t’ien 
kilns  were  active  from  the  beginning  of  the  Sung,  the  “Old 
Lung-ch’uan”  being  their  oldest  wares,  the  “Ko”  the 
most  famous. 

The  Chun. 

At  Chiin-t  ai,  also  called  Chiin-chou,  now  Yii-chou,  province 
of  Honan.  In  operation  from  the  beginning  of  the  Sung. 

The  Chien. 

At  Chien-chou,  now  Chien-yang  district,  Chien-ning  pre¬ 
fecture,  province  of  Fukien. 

THE  TING 

I  HAVE  found  no  native  work  which  fixes  the  date  of  the 
opening  of  the  Ting  kilns.  The  T’ao  Lu  tells  us  merely  that 
they  were  in  operation  “during  the  Sung  dynasty.”  We  know, 
however,  that  even  as  far  back  as  the  T’ang  (618-905)  south 
Chihli  was  a  keramic  centre,  and  that  the  ware  there  produced 
was  white,  or  of  a  yellowish  tint  which  was  then  the  nearest 
approach  to  it.  It  is  said  of  the  Hsing  T’ai  ware  that  it  was 
of  fine  and  glossy  pate,  and  the  Ch’a  Ching  compares  the 
tea  bowls  to  silver  or  to  snow,  holding  them  inferior,  however, 
to  those  of  Yiieh  (in  Chehkiang),  the  latter  being  green  and 
compared  to  ice  and  jade.  Now  Hsing  T’ai  is  the  head  district 
of  Shun-te  Fu,  midway  between  Ting-chou  and  Tz’u-chou. 

[  85  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


We  may  well  believe  that  its  kilns  supplied  the  type,  and  that 
it  was  their  development  which  later  produced  the  incom¬ 
parable  Ting  and  the  fine  white  ware  of  Tz’u-chou. 

According  to  the  T’ang  Shih  Ssu  K’ao,  the  Ting  kilns 
turned  out  their  best  pieces  during  the  Cheng  Ho-Hsiian  Ho 
period  (1111-26).  We  are  told  that  the  production  of  the 
Ting  type  of  ware  was  carried  on  at  Ch’ang-nan  after  the 
transfer  of  the  Sung  capital  to  the  south.  Through  the 
kindness  of  Mr.  D.  Lattimore,  of  Pao-ting  Fu  Provincial 
College,  I  obtained  a  copy  of  the  Ting-chou  Annals,  expecting 
them  to  be  a  mine  of  information  on  the  subject,  particularly 
as  the  old  kilns  constitute  the  city’s  only  claim  to  fame;  but 
the  only  thing  that  rewarded  my  search  was  the  bald  state¬ 
ment  that  “once  the  kilns  of  Ting-chou  were  very  famous 
and  their  products  eagerly  sought  after  by  connoisseurs.” 
Several  Ting-chou  students  at  the  college  were  questioned 
on  the  subject.  They  had  all  heard  of  the  kilns,  but  did  not 
know  just  where  they  are  supposed  to  have  been  located.  One 
of  the  teachers,  however,  stated  that  the  Ting  pottery  was 
very  famous  under  the  Sung  and  before,  and  that  tradition 
has  it  that  this  pottery  was  made  at  a  place  called  Pai-t’u 
Ts’un,  or  “Village  of  White  Clay,”  somewhere  to  the  west 
of  the  city.  He  added  that  no  pottery  is  made  there  now.  It 
ought  not  to  be  difficult  to  locate  this  place  definitely;  and 
as  it  appears  never  to  have  been  exploited,  it  is  possible  that 
excavations  there  might  be  richly  rewarded.  Even  broken 
pieces  of  genuine  northern  Ting  are  now  of  great  interest  and 
value. 

The  pate  of  the  best  Ting  ware  was  very  fine  and  tender. 
It  was  of  light  grey  colour,  showing  none  of  the  purple-brown 
or  iron  tints  of  the  other  notable  Sung  wares,  either  before 
or  after  firing.  It  was  manipulated  with  great  delicacy,  and 
some  of  the  pieces  were  almost  as  thin  as  modern  egg-shell. 
It  was  resonant,  and  while  usually  opaque  was  in  certain 
instances  slightly  translucent.  Brinkley  calls  it  “a  fine  stone¬ 
ware  or  semi-porcelain”;  Dillon,  “proto-porcelain  or  kaolinic 

[86] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

stoneware.  Native  authorities  do  not  raise  the  question. 
They  call  it  tz  u,  but,  as  I  shall  point  out  elsewhere,  this 
term  is  not  necessarily  synonymous  with  our  word  “porcelain  ” 
no  matter  how  the  ideograph  may  be  written.  The  exact 
composition  of  the  Ting  pate  can  be  determined  only  by  analy¬ 
sis  of  existing  specimens,  and  authenticated  specimens  of 
northern  Ting  are  far  too  rare  and  valuable  to  be  subjected 
to  such  a  process.  Our  best  hope  of  accurate  knowledge  on 
this  subject  lies  in  the  excavations  which  may  be  made  in  the 
future  at  the  “Village  of  White  Clay.” 

The  Ting  glazes  were  white,  purple,  and  black,  the  white 
being  the  type  and  by  far  the  most  important.  An  extract 
from  the  poem  of  Su  Tung-p’e,  to  the  effect  that  “the  flower 
vases  of  Ting-chou  were  like  carved  red  jade,”  is  made  au¬ 
thority  for  the  statement  that  the  Ting  kilns  produced  a  red 
ware  also.  But  if  such  a  ware  ever  existed,  it  is  negligible 
for  our  purpose,  as  the  collector  will  never  meet  with  it.  The 
Hsiang  Catalogue  (Illustrated  Description  of  the  Celebrated 
Porcelain  of  Different  Dynasties),  translated  by  Dr.  Bushell, 
gives  twelve  Ting  pieces,  of  which  five  are  purple.  From  this 
it  would  appear  that  in  Hsiang’s  day  (sixteenth  century) 
purple  pieces  were  comparatively  numerous.  They  do  not 
seem  to  have  been  imitated,  however.  I  have  met  with  no 
purple  specimens  of  the  Ting  type,  and  the  term  Ting  yao 
nowadays  always  implies  a  white  ware.  As  for  the  black, 
Hsiang  says  it  was  very  rare,  and  this  was  undoubtedly  true 
as  applied  to  the  finer  work.  I  am  inclined  to  think,  however, 
that  some  recently  discovered  specimens  of  black  ware  may 
be  classed  as  t’u  Ting  and  referred  to  the  south  Chihli  kilns. 

As  compared  with  other  notable  Sung  wares,  the  glaze  of 
the  white  Ting  was  thin,  “like  a  thin  coat  of  cream,”  some 
one  has  said,  and  this  comparison  gives  a  very  good  idea  of  its 
appearance.  In  old  Chiins  and  celadons  the  glaze  has  much 
body  and  is  frequently  found  collected  in  masses  near  the 
bottom  of  the  piece.  While  the  glaze  of  the  white  wares  is 
like  cream,  that  of  the  coloured  monochromes  is  like  paste. 

[87] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


This  contrast  may  be  easily  seen  by  comparing  the  piece  of 
white  Sung  shown  in  the  exhibit  with  the  pieces  of  Yuan  tz’u 
and  Lung-ch’iian.  In  these  latter  the  glazes  form  an  appre¬ 
ciable  part  of  the  thickness  of  the  piece. 

The  T’ao  Lu,  in  speaking  of  Ting  wares  of  the  finest  quality, 
says:  “This  ware  was  commonly  called  fen  Ting  (rice-flour 
Ting)  and  also  pai  Ting  (white  Ting).”  It  appears,  however, 
that  it  is  only  the  latter  term  which  should  be  applied  to  the 
fine  product  of  the  northern  kilns.  The  term  fen  Ting  implies 
a  tinge  of  buff  in  the  glaze,  and  this  was  a  characteristic  of 
the  later  Kiangsi  product.  The  pai  Ting,  however,  was  not 
a  pure  white  like  the  t’o  t’ai  wares  of  the  Yung-lo  period.  It 
was  of  a  mellow,  creamy  tone,  wonderfully  soft  and  of  great 
beauty. 

Decoration  was  of  various  sorts.  It  was  sometimes  lightly 
incised  under  the  glaze,  sometimes  printed  or  pressed  on  with 
a  mould,  and  sometimes  in  pronounced  relief.  Another  style 
of  decoration  called  hsiu  is  not  well  understood.  (See  note  to 
translation.)  There  were  also  perfectly  plain  pieces.  The  Ko 
Ku  Yao  Lun  and  the  T’ang  Shih  Ssu  K’ao  unite  in  pronounc¬ 
ing  the  pieces  having  incised  decoration  the  finest,  and  in 
giving  second  rank  to  the  plain  ones.  It  will  be  easily  under¬ 
stood  that  those  having  sufficient  body  to  carry  decoration 
in  pronounced  relief  could  not  compare  with  the  others  in 
delicacy,  though  the  decoration  itself  was  very  often  intricate 
and  effective  and  the  technique  excellent.  In  the  Catalogue 
of  the  Major  Collection  is  found  the  statement  that  the  Ting 
wares  sometimes  carried  decoration  in  brown,  as  did  the  prod¬ 
ucts  of  the  kilns  of  Tz’u-chou.  This  does  not  seem  at  all 
unlikely,  as  the  kilns  of  the  two  districts  operated  at  the  same 
time  and  turned  out  products  similar  in  many  respects,  but 
I  have  not  been  able  to  confirm  the  statement  by  any  native 
authority.  If  convinced  that  decoration  in  colour  was  ever 
employed,  I  should  be  inclined  to  apply  to  it  the  word  hsiu 
above  mentioned.  Chinese  scholars  whom  I  have  consulted 
are  of  the  opinion  that  it  means  “painted.” 

[88] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

The  books  tell  us  that  the  patterns  most  commonly  used  in 
decorating  the  Ting  were  peonies,  day  lilies,  and  flying 
phoenixes.  (For  the  symbolism  of  these,  see  note  to  the  trans¬ 
lation  of  the  T  ao  Lu.)  But  these  by  no  means  monopolise 
the  field.  Like  most  of  the  famous  Sung  wares,  the  early 
Ting  was  modelled  on  old  bronzes,  and  all  the  archaic  designs 
found  on  such  bronzes  were  faithfully  reproduced.  (For  an 
example  of  this,  see  the  magnificent  purple  censer  shown  in  the 
Hsiang  Catalogue.)  The  key-pattern  and  scroll-work  of 
various  sorts  were  widely  used,  particularly  in  incised  decor¬ 
ation.  I  have  seen  two  pieces  showing  a  pair  of  fishes  in  the 
bottom,  a  style  mentioned  in  literature  as  characteristic  of 
the  Old  Lung-ch’iian  wares.  One  of  these  pieces  was  held 
by  the  dealer  to  be  a  t’u  Ting ,  possibly  dating  from  the  Sung, 
while  the  other  was  admittedly  a  Tao  Kuang  imitation  made 
at  the  Kiangsi  kilns.  This  is  a  very  old  pattern,  and  was 
undoubtedly  much  used  on  the  Ting  wares  as  well  as  on  the 
Lung-ch’iian. 

Several  native  works,  in  discussing  the  pai  Ting ,  mention 
the  occurrence  of  globules  in  the  glaze,  which  they  compare 
to  tear-marks  and  which  are  spoken  of  as  increasing  the  value 
of  the  piece  in  the  eyes  of  connoisseurs.  We  can  hardly  be¬ 
lieve  that  they  were  real  embellishments  or  that  they  were 
intentional  on  the  part  of  the  potter.  But,  being  a  defect 
characteristic  of  early  wares,  they  have  come  to  be  prized 
as  an  evidence  of  age.  Brinkley  believes,  too,  that  they  would 
be  most  likely  to  occur  on  pieces  of  greatest  delicacy. 

Bowls  and  plates  of  Ting  were  stoved  in  an  inverted  posi¬ 
tion,  so  that,  unlike  most  Sung  wares,  the  bottoms  were  per¬ 
fectly  glazed,  while  the  rims  were  left  exposed  and  afterward 
finished  with  bands  of  copper  or  silver.  This  is  believed  to 
constitute  an  important  mark  of  authenticity,  as  it  is  held 
that  the  Ching-te-chen  kilns  did  not  imitate  it.  It  should 
be  borne  in  mind,  however,  that  there  was  no  impossibility 
in  their  doing  so,  had  they  really  wished  to  deceive,  and  for 
this  reason  the  glazed  bottom  and  copper  rim  must  not  be 

[89] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


considered  absolute  proof  of  the  Sung  origin  of  a  piece.  Let 
it  be  said,  however,  in  justice  to  the  Ching-te-chen  potters 
of  the  Ming,  that  for  the  most  part  their  aim  was  not  decep¬ 
tion  or  slavish  imitation,  but  the  development  and  improve¬ 
ment  of  the  type  set  for  them  by  the  northern  kilns.  Their 
work  was  of  a  quality  which  had  no  reason  to  fear  comparison, 
and  perhaps  they  did  not  use  the  copper  rims  simply  because 
they  had  learned  to  finish  the  piece  properly  without  them.1 

The  Ting  kilns  put  forth  a  great  variety  of  articles.  Plates 
and  saucers  of  various  sizes  and  wide-mouthed  bowls  were 
common.  There  were  many  censers,  tripods,  and  vases, 
closely  imitating  the  old  bronzes.  In  addition  the  T’ao  Shuo 
gives  us  a  list  of  flower  vases  and  small  objects  for  use  in  the 
library  of  the  scholar,  such  as  pencil  rests,  water  basins  for 
washing  brushes,  and  small  pots  to  contain  water  for  the 
ink  slab,  designed  in  imitation  of  various  natural  objects, 
such  as  melons,  egg-plant,  camels,  and  even  toads.  These  all 
occurred  in  the  Ting  wares,  though  they  seem  to  have  been 
more  common  in  the  heavier  Kuan  and  Ko. 

VARIETIES  AND  IMITATIONS  OF  THE  TYPE 

The  t’u  Ting  is  a  variety  of  the  ware  heavier,  coarser,  and 
more  yellowish  in  colour  than  the  pai  Ting  or  fen  Ting.  From 
the  text  of  the  T’ao  Lu  one  gathers  that  it  was  simply  an 
inferior  output  made  at  the  same  kilns  and  at  the  same  time 
as  the  other.  And  it  seems  but  natural  that  from  the  very 
first  pieces  of  varying  degrees  of  fineness  and  excellence  should 
have  been  produced,  adapted  to  various  uses  and  put  upon 
the  market  at  different  prices.  Or  perhaps,  while  the  finer 
wares  were  reserved  for  imperial  use,  the  heavier  work  alone 
was  put  upon  the  market.  The  T’ao  Shuo  and  the  older  works 
from  which  it  quotes  do  not  mention  the  t’u  Ting.  Brinkley, 
in  Chapter  III,  “Wares  of  the  Sung  Dynasty,”  says:  “There 

1  Mr.  T’ang  Shao-yi  has  since  told  me  that  under  the  Ming  and  later  the  copper 
rims  were  considered  in  bad  taste. 


[90] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

was  also  produced  at  the  same  factory,  during  the  Sung 
dynasty,  a  coarser  species  called  the  t’u  Ting  yao.”  But  in 
Chapter  XII,  “Chinese  Pottery,”  he  says  that  the  t’u  Ting 
was  “an  imitation  of  the  celebrated  Ting  ware  of  the  Sung,” 
and  he  adds  that  the  heavier  examples  came  from  the  Kuang- 
tung  factories.  In  describing  these  he  says  that  they  have 
“a  paint-like,  creamy  glaze  of  varying  thickness  and  lustre, 
its  buff  colour  often  showing  tinges  of  blue.”  I  have  seen 
numerous  specimens  in  shops  and  private  collections,  some 
of  them  quite  creamy  enough  to  have  issued  from  the  northern 
kilns,  and  others  somewhat  buff  but  showing  no  special  tinge 
of  blue.  Moreover,  they  are  sufficiently  heavy  and  durable 
to  have  survived  usage  and  transfer  and  to  have  undergone 
processes  of  burial  and  resurrection.  One  would  like  to  believe 
that  some  of  them,  at  least,  are  what  they  seem.  It  is  an 
interesting  point,  for  if  they  are  genuine  relics  of  the  Sung 
kilns  their  analysis  would  teach  much  concerning  the  nature 
of  the  Ting  pate  and  glazes,  for  these  heavy  wares  probably 
differed  from  the  others  more  in  technique  and  manipulation 
than  in  the  nature  of  the  materials  used. 

We  have  seen  that  with  the  transfer  of  the  Sung  capital 
to  the  south  (1126-27)  the  manufacture  of  the  Ting  type  of 
ware  became  centred  at  Ch’ang-nan,  the  world-famed 
Ching-te-chen,  where  kilns  had  already  been  in  operation 
from  the  seventh  century.  Doubtless  the  more  skilled  of  the 
operators  of  the  northern  kilns  went  to  Ching-te-chen  at 
this  time,  taking  their  skill  and  their  traditions  with  them. 
We  need  look  for  no  falling  off  in  technique,  but  naturally 
different  materials  came  into  use.  If,  however,  the  peculiar 
keramic  properties  of  the  Ching-te-chen  kao-lin  had  then  been 
discovered,  the  discovery  was  not  applied  to  this  species  of 
manufacture.  The  T’ao  Lu  tells  us  that  the  Ch’ang-nan 
potters  used  powdered  ch’ ing-t’ ien  stone  in  making  their  biscuit. 
Whatever  this  may  have  been,  it  did  not  produce  so  fine,  close- 
grained  a  pate  as  the  material  procured  from  the  “Village  of 
White  Clay.”  Just  what  occurred  to  produce  the  change  in 

[  91  1 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


the  colour  of  the  glaze  from  a  creamy  white  to  a  buff  tinge  is 
another  point  unelucidated,  but  from  this  time  onward  the 
manufacture  of  Ting  wares  went  on  at  Ch’ang-nan  without 
interruption. 

Changes  of  dynasty  did  not  put  out  the  fires  of  the  Ching- 
te-chen  kilns.  Under  the  Mongol  masters  of  the  Yuan 
(1206-1341)  they  went  on  producing  pieces  which  old-time 
native  connoisseurs  admit  to  be  undistinguishable  from  the 
southern  ware  of  the  Sung.  The  Ko  Ku  Yao  Lun  tells  us, 
however,  that  under  the  Yuan  the  best  pieces  were  marked 
with  the  characters  “Shu  Fu,”  indicating  their  imperial 
destination.  Under  the  Ming  white  wares  of  hard  paste 
porcelain  were  made,  but  the  manufacture  of  the  soft  paste 
Ting  type  was  also  kept  up.  Under  Wan  Li  (1573-1620)  the 
expert  Hao  Shih-chiu  is  said  to  have  copied  a  Sung  Ting 
tripod  so  successfully  that  the  owner  of  the  original  could  not 
tell  which  was  his.  As  already  mentioned,  we  have  seen  a 
handsome  piece  of  the  Ting  type  which  was  admitted  by  the 
dealer  to  be  as  late  as  Tao  Kuang. 

So  much  for  the  Ching-te-chen  kilns.  And,  as  will  be  seen 
in  the  section  devoted  to  supplementary  kilns,  the  Ting 
wares  were  imitated  with  more  or  less  success  by  the  potter 
Shu  of  Chi-chou  and  his  daughter  Shu  Chiao,  by  the  potter 
P’eng  Chun-pao  of  Ho-cho-chou,  and  by  many  others.  All 
these  varieties  add  to  the  confusion  of  the  collector.  True, 
the  genuine  northern  Ting  had  characteristics  which  set  it 
apart  from  all  the  others,  but  it  is  hardly  an  exaggeration 
to  say  that  its  safest  distinguishing  feature  is  the  fact  that  it 
is  no  longer  to  be  found. 

EXAMPLES  OF  THE  TING  WARES 

Bushell’s  “Chinese  Art,”  Fig.  8,  shows  two  Ting  vases 
classed  as  Sung.  These  are  in  the  Bushell  collection. 

At  the  Shanghai  Exhibition,  1908,  was  shown  a  piece  in 
the  form  of  a  boat  with  a  child  in  it.  It  has  an  incised  key- 
pattern  border.  Length,  7  inches;  height,  2  inches.  It  was 

[  92  ] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

from  the  collection  of  Wang  K’ai-zur  and  was  classed  as 
Sung  fen  Ting. 

At  the  same  exhibition  were  shown  a  pair  of  vases  classed 
as  fen  Ting.  These  have  a  creamy,  crackled  glaze,  with  dragon 
and  flying  phoenix  decoration.  From  the  collection  of  A.  W. 
Bahr.  Probably  early  Ming. 

At  the  Burlington  Fine  Arts  Exhibition  was  shown  a 
saucer-shaped  dish  with  six-foil  rim  finished  with  a  band. 
The  ornaments  are  in  low  relief.  There  is  a  vine  in  the  centre, 
and  the  six  radiating  compartments  of  the  sides  are  decorated 
with  peonies  and  other  flowers.  The  border  is  of  the  design 
known  as  the  silk-worm  scroll.  This  piece  was  loaned  by 
Mrs.  Bushell. 

The  same  exhibition  showed  a  bottle  of  t’u  Ting  with 
creamy-white  crackled  glaze,  “garlic-shaped”  mouth,  and 
archaic  dragon  and  pearl  in  relief  around  the  lower  part  of  the 
neck.  Decoration  of  scroll-work  on  the  body. 

Three  vases  of  the  t’u.  Ting  type  recently  left  Peking.  The 
purchaser  classed  them  as  Sung.  Their  solidity  and  crackled 
glaze  place  them  in  the  t’u  Ting  class,  but  they  are  finely 
finished  and  of  excellent  technique.  The  best  of  the  three 
has  a  creamy  glaze  with  only  a  slight  tinge  of  buff,  and 
decoration  in  low  relief,  evidently  copied  from  an  old  bronze. 
A  key-pattern  scroll  extends  twice  round  the  neck  and  down 
the  sides.  The  crackle  is  of  the  fine  fish-roe  type.  It  may  be 
a  Ming  product  of  the  Ching-te-chen  kilns,  but  on  this  point 
it  is  impossible  to  speak  with  certainty.  Analysis  of  the  glaze 
would  probably  show  lead.  The  very  excellence  of  such  a 
specimen  leads  one  to  doubt  its  age. 

In  the  collection  of  General  Munthe  are  three  vases  of  the 
t’u  Ting  type.  Two  of  these  have  the  “garlic-shaped”  mouth 
and  dragons  coiled  about  the  neck.  A  third  has  a  deeper  tinge 
of  buff  than  the  others,  with  decoration  of  peonies  incised 
under  the  glaze.  This  latter  has  a  completely  glazed  bottom. 
These  are  all  of  heavier  material  and  coarser  workmanship 
than  the  three  mentioned  above. 

[  93  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


At  the  Ta  Chi  Chang  curio  shop  on  the  Ha-ta-men  Street 
I  saw  a  specimen  of  the  finer  Ting.  It  is  a  wide-mouthed 
bowl,  very  light  and  delicate  but  quite  opaque.  It  has  the 
hexagonal  division  of  the  sides,  like  the  bowl  mentioned  above 
from  the  collection  of  Mrs.  Bushell.  The  only  decoration  is 
an  incised  lotus  at  the  bottom.  The  rim  is  unglazed  and 
finished  with  a  copper  band.  The  dealer  seemed  ignorant  of 
the  origin  and  character  of  this  piece. 

The  same  dealer  showed  me  a  large  plate  of  the  t’u  Ting 
type.  It  has  a  deeper  tinge  of  yellow  and  is  heavier  than  the 
bowl,  but  is  still  quite  delicate.  It  also  is  finished  with  the 
copper  rim.  There  are  two  fishes  in  the  bottom  and  elaborate 
decoration  in  relief  round  the  sides.  Like  the  bowl  just 
described,  it  has  all  the  characteristics  of  genuine  Sung  ware, 
unless  it  lacks  such  as  must  be  determined  by  analysis.  But 
it  requires  great  optimism  to  believe  that  pieces  so  fragile 
and  of  a  shape  so  easily  destroyed  have  survived  from  so 
remote  a  period. 

Heavy  pieces  of  the  t’u  Ting  type,  mostly  vases,  may  be 
found  in  various  shops  on  the  Liu-li-ch’ang.  If  asked  their 
origin,  the  dealer  will  usually  say  “Honan”  and  add  that  they 
are  “out  of  the  earth.”  It  is  quite  true  that  recent  railway 
construction  has  led  to  numerous  finds  of  ancient  pottery; 
and  as  these  pieces  are  very  solid,  it  is  not  unreasonable  to  sup¬ 
pose  that  some  of  them,  at  least,  actually  date  from  the 
Sung  dynasty. 


HINTS  TO  THE  COLLECTOR 

“The  best  Ting  was  of  the  Cheng  Ho-Hsiian  Ho  periods, 
but  it  is  no  longer  found  in  heaps.”  (Ko  Ku  Yao  Lun,  1387.) 

“One  does  not  see  many  Sung  wares  nowadays.  The  broken 
shards  that  remain  are  worth  their  weight  in  gold  and  jade.” 
(Foreword  of  the  T’ao  Shuo,  Ch’ien  Lung  period.) 

The  above  two  quotations,  one  written  about  one  hundred 
and  fifty  and  the  other  more  than  five  hundred  years  ago, 

[94] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

might  seem  to  close  the  question  to  all  but  purely  academic 
interest.  Nevertheless,  there  are  certain  recent  develop¬ 
ments  which  may  serve  to  justify  the  collector  of  Sung  wares 
in  his  enthusiasm,  particularly  with  regard  to  the  heavier 
varieties.  These  are  the  excavations  which  have  accompanied 
modern  mine-opening  and  railway-building  in  China,  and  the 
wars  and  political  upheavals  which  have  caused  princely 
and  other  wealthy  families  to  put  their  hitherto  jealously 
guarded  heirlooms  upon  the  market.  It  is  asserted,  too,  that 
during  and  since  Boxer  times  some  of  the  imperial  hoards 
have  been  rifled  by  their  guardians  and  put  into  circulation. 

the  ju 

Ju-chou  is  in  the  province  of  Honan,  in  the  valley  of  the  Ju 
River,  some  fifty  miles  west  of  the  Ching-Han  Railway  line 
and  to  the  southeast  of  Honan  Fu.  It  is  in  the  same  general 
keramic  district  as  Yii-chou,  where  the  famous  Sung  Chun 
wares  were  made.  The  T’ao  Lu  tells  us  that  it  was  under 
the  direct  jurisdiction  of  the  capital,  Pien-liang.  (Bushell 
errs  in  saying  that  it  is  now  Ju-chou  Fu.  It  is  not  a  prefec- 
tural  city.) 

Brinkley  makes  the  statement  that  the  Ju  kilns  were  opened 
in  1130,  which  was  three  years  after  the  transfer  of  the  Sung 
capital  to  the  south,  but  they  are  actually  mentioned  in  a 
work  written  some  years  before.  He  appears  to  be  quoting 
the  T’ao  Lu,  though  not  literally,  as  follows:  “The  T’ao  Lu 
says  that  the  glaze  of  the  Ting  yao  was  often  disfigured  by 
fissures  and  other  faults  due  to  imperfectly  prepared  materials 
or  unskilled  stoving.  These  blemishes  proved  so  embarrassing 
and  unavoidable  that  in  1130  a.d.  imperial  orders  were  issued 
for  the  establishment  of  a  special  factory  at  Ju-chou,  in  the 
province  of  Kiangsu.” 

The  only  statement  that  I  have  been  able  to  find  in  the  T’ao 
Lu  in  any  way  resembling  this  is  the  following:  “Ju  was 
under  the  jurisdiction  of  Pien.  The  Sung  (emperors),  holding 
that  the  white  Ting  ware  was  in  many  ways  unsuitable, 

[  95  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


ordered  the  opening  of  kilns  at  Ju  for  the  manufacture  of 
celadon  ( ctiing ).”  This  text  does  not  mention  the  date, 
and  unless  there  be  direct  literary  evidence  to  the  contrary, 
I  should  place  the  opening  of  the  kilns  at  a  date  somewhat 
earlier  than  that  assigned  by  Brinkley.  The  Sung  emperors 
transferred  their  capital  to  the  south  in  1126-27,  and  we 
have  already  seen  that  at  that  time  the  manufacture  of  the 
Ting  type  of  ware  was  removed  to  Ching-te-chen.  We  shall 
also  see  that  the  Kuan,  or  imperial  kilns,  were  then  trans¬ 
ferred  from  the  old  capital  to  the  new.  At  a  time  when  cir¬ 
cumstances  necessitated  the  closing  of  the  other  northern 
kilns  it  is  not  likely  that  new  ones  would  have  been  opened 
in  Honan,  in  close  proximity  to  the  Chin  Tartars,  before 
whom  the  Sung  were  receding;  for,  as  we  know,  Ju-chou  is 
in  Honan,  not,  as  Brinkley  states,  in  Kiangsu. 

The  Ju-chou  kilns  are  in  operation  to-day,  and  I  find  no 
evidence  to  show  that  they  have  ever  been  entirely  closed. 
Richard’s  geography  says:  “The  environs  were  formerly 
very  industrial,  but  have  lost  their  activity.  The  manu¬ 
facture  of  common  pottery  is  still  carried  on  and  gives  the 
place  some  importance.”  Nevertheless,  fine  old  Ju  wares 
of  the  Sung  are  exceedingly  rare.  As  they  were  not  so  fragile, 
the  only  explanation  seems  to  be  that  the  output,  while  under 
imperial  patronage,  was  small.  If  such  patronage  were  with¬ 
drawn  with  the  transfer  of  the  capital  to  the  south,  an  im¬ 
mediate  deterioration  of  the  work  would  have  resulted.  In 
the  absence  of  evidence  I  cannot  contend  that  such  was  the 
history  of  the  Ju-chou  kilns,  but  offer  it  merely  as  a  working 
hypothesis.  There  may  be  evidence  in  Chinese  literature 
which  has  not  come  under  my  notice.1 

1  Dr.  Chao  S.  Bok,  himself  a  lineal  descendant  of  the  Sung  imperial  family  and 
deeply  interested  in  their  history,  informs  me  that  the  kilns  at  Ju-chou  were  not 
established  by  imperial  order,  but  as  the  private  enterprise  of  a  prince  of  the  ruling 
house.  He  has  promised  to  secure  for  me  the  name  of  this  prince  and  the  exact 
date  of  the  establishment  of  the  kilns.  He  believes  that  they  did  not  operate  for 
a  very  long  time,  but  that  during  their  operation  a  very  ardent  competition  existed 
between  them  and  the  Ting-chou  factories,  particularly  with  regard  to  the  pro¬ 
duction  of  new  colours  in  the  glaze. 

[  96  ] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

We  are  told  that  the  pate  of  the  Ju  was  fine  and  glossy 
and  shone  like  copper.  This  seems  to  indicate  a  reddish  tinge 
in  the  clay  even  before  firing.  The  wares  varied  in  thickness. 
If  any  specimens  ever  equalled  the  Ting  in  delicacy,  they 
have  not  survived. 

The  superiority  of  the  Ju  wares  was  entirely  in  the  glaze, 
which  was  glossy  and  thick  like  congealed  lard.  To  reproduce 
a  colour  like  that  of  the  famous  old  Ch’ai  wares  of  the  later 
Chou  seems  to  have  been  the  main  object  in  the  opening  of 
the  kilns.  The  T’ao  Lu  states  that  the  colour  was  to  be  ch’ing, 
but  it  specifies  “the  ch’ing  of  the  sky  after  rain.”  This 
expression  naturally  suggests  blue,  and  observation  bears 
out  the  rendering.  I  have  heard  it  applied  by  dealers  to 
pieces  which,  to  my  eyes  at  least,  were  frankly  blue  with  no 
tinge  of  green.  It  is  the  colour  of  the  modern  Ju-chou  ware 
to  be  found  in  abundance  in  Peking  to-day.  When  a  Chinese 
says  of  an  object  that  it  is  “ch’ing  like  the  sky,”  he  does  not 
mean  the  same  thing  as  when  he  says  “ ch’ing  like  an  onion.” 
I  asked  a  Chinese  gentleman  the  colour  of  the  pale  blue  silk 
gown  that  he  wore,  and  he  responded  promptly  “pale  ch’ing.” 

So  much  for  the  term.  But  we  must  not  be  surprised  when 
confronted  by  the  fact  that  the  colour  of  the  Ju  wares  was  not 
always  the  same.  The  skill  of  the  old  potters  was  purely 
empirical.  They  could  rarely  duplicate  their  wares.  The 
colour  of  the  sky  after  rain  may  have  been  always  the  colour 
aimed  at,  but  many  attempts  produced  a  bluish  green,  or 
sometimes  a  green  with  no  tinge  of  blue.  Of  the  three  Ju 
pieces  which  are  figured  in  the  Hsiang  Catalogue  (if  the 
colours  of  the  reproduction  which  I  have  seen  are  to  be  trusted), 
one  is  quite  blue,  one  a  celadon  with  a  slight  tinge  of  blue, 
and  one  with  blue  predominating  but  bearing  a  tinge  of  green. 
Before  leaving  this  puzzling  question  of  colour,  we  should 
mention  that  the  T’ao  Shuo  quotes  the  Liu  Ch’ing  Jih  Cha 
as  saying  that  there  was  a  yellowish  tinge  in  the  Ju  glazes, 
and  the  Po  Wu  Yao  Lan  as  comparing  them  in  colour  to  egg- 
white.  The  author  of  the  T’ao  Shuo,  commenting  on  this, 

[97] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 

remarks  that  while  the  two  statements  seem  to  disagree, 
the  general  indication  is  that  the  colour  was  a  pale  ch’ing. 
Evidently  this  latter  overworked  word  appeals  to  the  Chinese 
mind  as  a  safe  resort  in  all  disputes  with  regard  to  colour. 

The  T’ao  Lu  saj^s  that  the  Ju  was  sometimes  uncrackled, 
sometimes  with  the  fish-roe  variety  of  crackle.  The  Ko  Ku 
Yao  Lun  also  refers  to  certain  markings  designated  as  “crab’s 
claw”  and  “  Tsung  yen ”  or  “coir-palm  eyes.”  The  first  may 
refer  to  the  larger  variety  of  crackle,  such  as  is  shown  by  one 
of  the  Ju  pieces  in  the  Hsiang  Catalogue.  The  latter  term 
I  have  discussed  in  the  note  to  the  annexed  translation. 
Native  authorities  do  not  agree  as  to  its  meaning.  One  man 
assured  me  that  it  is  common  colloquial  usage,  meaning  “little 
holes.”  Another  says  that  it  is  applied  to  certain  markings 
on  plants,  not  necessarily  the  palm.  He  pointed  out  such 
marks  on  a  bamboo.  They  are  not  unlike  eyes,  and  one  can 
understand  how  such  markings  might  accidentally  occur  on 
porcelain.  I  have  seen  no  specimens,  however,  and  have  not 
heard  the  term  used  by  dealers  or  connoisseurs.  Whatever 
these  markings  were,  it  is  obvious  that  they  were  not  inten¬ 
tionally  produced  and  were  not  originally  regarded  as  em¬ 
bellishments. 

A  quotation  from  the  Cho  Keng  Lu  refers  to  sesame  flowers 
on  the  bottom  of  Ju  wares,  which,  if  I  understand  the  passage 
aright,  appeared  as  though  picked  out  with  a  small  pointed 
instrument.  No  reference  is  made  to  this  elsewhere. 

Of  the  composition  of  the  Ju  glazes  the  books  tell  us  only 
that  powdered  cornelian  was  added.  I  am  not  aware  that  this 
statement  was  made  with  reference  to  any  other  of  the  Sung 
wares. 

The  archaic  decorations  of  the  old  bronzes  were  reproduced 
on  the  Ju  wares.  So  far  as  I  have  been  able  to  discover,  the 
Ju  is  known  only  in  vases.  If  bowls,  plates,  and  the  utensils 
of  the  library  were  made,  as  in  the  other  Sung  wares,  they 
have  not  survived  even  in  literature.  The  author  of  the 
T’ao  Shuo  speaks  of  “one  small  jar”  which  he  was  fortunate 

[98] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 


enough  to  see  in  the  collection  of  a  friend.  It  appears  to  have 
been  the  characteristic  of  cornelian  in  the  glaze  which  most 
struck  him,  for  he  makes  this  the  heading  of  his  remarks. 
He  says  that  such  pieces  were  meant  for  imperial  use  and  were 
“exceedingly  hard  to  obtain.” 

IMITATIONS 

The  Annals  of  Fu-liang  tell  us  that  the  pate  and  glaze  of  the 
Ju  wares  were  imitated  at  Ching-te-chen.  These  products 
probably  excelled  their  originals  in  technique,  but  fell  below 
them  in  depth  and  softness  of  glaze. 

Modern  wares  from  the  Ju-chou  kilns  are  for  sale  in  Peking. 
At  the  Industrial  Exposition  Building  I  saw,  among  other 
articles,  a  large  Ju  censer.  The  colour  is  “the  blue  of  the  sky 
after  rain.”  These  pieces  are  not  meant  to  deceive,  and  could 
not  possibly  do  so.  Still,  they  are  not  without  decorative 
merit,  and  are  of  interest  as  marking  the  persistence  of  an 
old  industry  which  may  yet  have  a  future. 

EXAMPLES  OF  SUNG  JU 

Since  the  Hsiang  Catalogue  could  figure  only  three  pieces, 
and  the  author  of  the  T’ao  Shuo  knew  only  one  small  jar,  we 
must  not  expect  much  in  the  way  of  existing  specimens. 

HINTS  TO  THE  COLLECTOR 

From  what  has  already  been  said  it  will  be  understood  that 
the  interest  of  the  collector  in  this  type  of  ware  is  largely 
theoretical.  It  is  possible  that  a  craze  for  Sung  Ju  may  some 
day  create  a  supply;  but  if  so,  no  thinking  person  could  take 
the  matter  seriously.  A  description  of  this  ware  has  been 
necessary  here,  merely  for  the  sake  of  symmetry  and  com¬ 
pleteness  in  summarising  the  famous  products  of  the  dynasty. 

Nevertheless,  it  is  likely  that  a  few  specimens  do  exist  in 

[  99  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


private  collections,  and  that  they  may  yet  fall  under  the  eye 
of  the  collector.  Such  specimens  may  have  found  their  way  to 
America  already,  for  undoubtedly  the  recent  upheavals  in 
China  have  caused  the  dispersal  of  collections  of  great  merit. 

Let  the  collector  remember  that,  to  be  considered  at  all  as 
a  Sung  Ju,  the  piece  must  be  of  fine,  glossy,  copper-coloured 
pate,  the  glaze  must  be  thick  and  unctuous,  the  colour  blue, 
green,  or  a  blending  of  the  two  with  either  predominating. 
It  may  be  crackled  or  plain.  The  style  should  be  archaic. 
The  glaze  is  likely  to  terminate  in  a  wavy  line,  and  a  portion 
of  the  lower  part  is  very  likely  to  be  unglazed.  Too  great 
excellence  of  technique  will  indicate  a  Ching-te-chen  origin 
of  later  date  than  the  Sung.  But  when  all  these  characteristics 
are  granted,  I  can  find  nothing  which  absolutely  distinguishes 
it  from  other  celadons,  particularly  the  Kuan.  If  the  presence 
of  cornelian  in  the  glaze  could  be  proved,  this  would  appear 
to  clinch  the  argument.  But  probably  the  use  of  this  material 
is  only  a  tradition.1 


THE  KUAN 

The  Kuan  Yao  were  the  Government  kilns,  properly  speaking. 
They  differed  from  the  others  in  being  set  up  at  the  capital 
and  being  more  directly  under  the  jurisdiction  of  the  palace 
authorities.  But  we  must  not  suppose  that  they  were  the  only 
kilns  which  supplied  ware  for  imperial  use,  or  that  their  out¬ 
put  was  necessarily  superior  to  that  of  other  famous  kilns, 
such  as  the  Ting  and  Ju.  In  fact,  the  T’ao  Lu  tells  us  that 
such  was  not  the  case.  I  have  noted  in  my  researches  that  the 
term  Sung  Kuan  yao  as  used  to-day  does  not  necessarily  mean 
the  product  of  these,  strictly  speaking,  imperial  kilns,  but  is 
used  to  indicate  all  Sung  wares  whose  quality  indicates  that 
they  were  meant  for  palace  use. 

1  Since  writing  the  above  I  have  been  informed  by  H.  E.  T’ang  Shao-yi  that  there 
is  in  his  own  collection  a  piece  which  he  is  strongly  inclined  to  classify  as  Ju. 

The  collection  of  Mr.  Ch’ing  K’uan  also  contains  a  vase  which  he  calls  a  Ju. 
It  is  beaker-shaped  and  of  archaic  appearance.  The  colour  is  a  grey  green  and 
there  is  medium-sized  crackle. 


[  ioo  ] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

The  books  are  quite  definite  as  to  the  history  of  the  Kuan 
kilns.  They  were  opened  during  the  Ta  Kuan-Cheng  Ho 
period.  These  are  both  designations  of  the  reign  of  the  Em¬ 
peror  Hui  Tsung,  and  the  time  was  1107-18.  During  the 
latter  year  Hui  Tsung,  though  still  on  the  throne,  again 
changed  his  nien  hao.  The  kilns  continued  to  operate  at 
K’ai-feng  Fu  until  the  transfer  of  the  capital  to  the  south, 
when  they  were  closed  and  “interior  kilns,”  or  official  kilns, 
were  set  up  in  the  immediate  precincts  of  the  palace  at  Hang¬ 
chou.  We  have  thus  a  period  of  only  twenty  years  for  the 
operation  of  the  northern  kilns. 

As  for  the  pate  of  the  Kuan,  we  are  told  that  it  was  fine  and 
glossy  and  that  the  wares  showed  the  red  mouth  and  iron  foot, 
though  whether  this  was  before  or  after  firing  is  not  quite 
clear.  There  must  have  been  considerable  difference  between 
the  clays  used  in  the  north  and  in  the  south,  and  with  regard 
to  the  latter  the  T’ao  Shuo  is  more  explicit.  Quoting  the  Po 
Wu  Yao  Lan,  it  says:  “The  earth  at  the  foot  of  Phoenix  Hill, 
near  Hang-chou,  is  reddish,  so  that  the  bottom  of  vessels 
made  of  it  look  like  iron.  This  is  commonly  called  ‘the  red 
mouth  and  iron  foot.’  For  the  glaze  has  a  tendency  to  run 
down,  away  from  the  mouth  of  the  vessel,  leaving  this  or 
unglazed  patches  like  the  bottom  in  colour.  But  it  is  the  iron 
foot  which  is  most  esteemed.  There  is  no  other  clay  which 
equals  that  of  Phoenix  Hill  in  this  respect.” 

From  this  it  would  appear  that  in  the  southern  wares  the 
pate  was  red  before  firing.  I  am  inclined  to  think  that  the 
pate  of  the  northern  Kuan,  and  of  Honan  wares  generally, 
was  dark,  though  not  so  markedly  red  as  that  of  Hang-chou. 

With  regard  to  the  thickness  of  the  biscuit,  there  does  not 
appear  to  have  been  much  difference  between  the  Ju  and  the 
Kuan.  Of  the  former  we  are  told  that  the  wares  were  “of 
varying  thickness”;  of  the  latter,  that  “the  body  was  thin.” 
The  Liu  Ch’ing  Jih  Cha  says  of  the  Kuan  that  “those  which 
were  thin  like  paper  were  similar  to  the  Ju  and  of  equal  value.” 
In  estimating  remarks  like  this  we  must  always  bear  in  mind 

[  101  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


the  standards  of  comparison  of  those  early  times,  else  we  shall 
form  a  very  exaggerated  idea  of  the  delicacy  of  the  old  wares. 

The  Ju  appears  to  have  excelled  the  Kuan  in  quality  of 
glaze.  We  have  seen  the  former  characterised  as  very  thick 
and  unctuous  and  compared  to  lard.  The  latter  is  not  de¬ 
scribed  except  as  regards  colour.  This,  the  T’ao  Lu  says,  was  a 
ctiing  of  varying  depth.  During  the  Ta  Kuan  period  moon- 
white  and  bright  green  were  also  made.  Generally  speaking, 
this  celadon  appears  to  have  shown  less  of  the  blue  tinge  than 
did  the  Ju.  As  to  crackle,  the  T’ao  Lu  says  that  it  showed 
the  crab’s-claw  markings.  The  Po  Wu  Yao  Lan  adds  to  this 
that  the  starred-ice,  eel’s-blood  crackle  was  the  best,  and 
the  black  plum-blossom  crackle  next  in  rank.  This  refers  to 
the  practice  of  rubbing  red  or  black  colouring  matter  into  the 
crackle.  This  process  is  described  in  the  section  on  Minor 
Kilns,  under  the  heading  “Sui  Ch’i  Yao.” 

Decoration  appears  to  have  been  sparingly  used  on  the 
Kuan  wares,  the  pieces  relying  for  their  beauty  on  the  quality 
of  the  glaze  and  the  coloured  crackle.  The  Hsiang  Catalogue 
figures  a  tripod  having  the  “t’ao-t’ieh,”  or  ogre’s  head,  in 
relief,  and  the  “lei-wen,”  or  thunder-scroll  decoration.  Other 
pieces  are  perfectly  plain.  We  do  not  read  or  hear  of  plates 
or  bowls  with  incised  patterns  of  flowers,  etc.,  as  in  the  Lung- 
ch’iian  celadons. 

The  Hsiang  Catalogue  shows  us  censers,  tripods,  libation 
cups,  etc.,  in  the  Kuan  wares.  We  also  learn  from  the  Cat¬ 
alogue,  and  from  the  list  of  articles  given  in  the  T’ao  Shuo, 
that  these  kilns  produced  cups,  watering  pots,  basins  for 
washing  brushes,  ink  palettes,  brush  rests,  seals,  and  doubt¬ 
less  all  the  little  articles  so  highly  prized  in  the  study  of  the 
Chinese  scholar. 


VARIETIES  AND  IMITATIONS 

We  have  seen  that  the  transfer  of  the  kilns  from  K’ai-feng  Fu 
to  Hang-chou  necessitates  differentiation  between  the  northern 
and  the  southern  Kuan. 


1  102  ] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

The  T’ang  Shih  Ssu  K’ao  says  that  “a  false  Kuan  was 
made  at  Lung-ch’iian.”  There  seems,  however,  no  good 
reason  for  assuming  that  the  Lung-ch’iian  celadons  were  at 
any  time  a  conscious  imitation  of  the  Kuan,  particularly 
with  any  attempt  to  deceive,  though  the  similarity  in  the 
wares  may  have  led  to  some  confusion.  The  same  authority 
says  that  the  “secret  colour”  wares  of  YtiYao,  of  the  southern 
Sung,  were  often  mistaken  for  the  Kuan. 

Some  of  the  minor  kilns  turned  out  products  similar  to  the 
Kuan,  while  the  Ching-te-chen  factories  have  at  various  per¬ 
iods  produced  wares  closely  resembling  them. 

EXAMPLES  OF  SUNG  KUAN 

It  is  only  quite  recently  that  native  or  foreign  collectors  have 
taken  an  interest  in  these  products  of  the  Sung  imperial 
factories,  or  have  differentiated  them  from  other  and  similar 
celadons  of  corresponding  date.  Therefore,  both  in  China 
and  abroad  there  may  be  Kuan  pieces  which  are  not  so  classed. 
The  term  Kuan  yao,  as  used  in  Peking,  means  the  output  of 
the  imperial  Ching-te-chen  factories,  from  the  Ming  down¬ 
ward,  whereas  Sung  Kuan  yao  means  any  high-class  Sung 
ware,  presumably  made  for  imperial  use.  Intelligent  and  en¬ 
thusiastic  native  collectors  are  just  awakening  to  the  fact 
that  an  old  celadon  gains  in  interest  and  value  if  it  possesses 
characteristics  which  refer  it  to  the  K’ai-feng  or  Hang-chou 
imperial  kilns. 

After  recent  careful  study  of  the  subject  and  exploration 
of  the  shops,  a  Chinese  connoisseur  brought  me  a  piece  which 
he  is  willing  to  vouch  for  as  a  Sung  Kuan,  and  probably,  as 
judged  by  the  nature  of  the  clay,  from  the  K’ai-feng  kilns. 
It  is  a  plate  or  saucer,  eight  inches  in  diameter.  The  colour  is 
an  olive  green  with  a  very  slight  tinge  of  blue.  The  crackle 
is  finest  in  the  centre,  running  into  larger  meshes  toward  the 
rim,  a  considerable  portion  of  the  outer  edge  being  uncrackled. 
The  foot  is  perfectly  smooth  and  finely  finished.  The  piece 

[  103  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 

has  rested  on  a  five-pointed  object  during  firing,  and  the 
copper-coloured  pate  is  shown  at  these  five  points.  It  has  been 
buried  and  shows  some  iridescence  in  the  bottom,  with 
numerous  cloudy  spots  where  the  glaze  has  been  eaten  away. 
There  is  a  round  black  spot  in  the  bottom,  which  must  have 
been  an  original  defect  in  the  piece.  It  bears  no  ornamentation. 

Mr.  Myers,  our  consular  representative  at  Mukden,  tells 
me  that  there  is  a  piece  marked  “Kuan”  in  the  imperial 
collection  there.  He  characterises  this  as  of  very  light  sky 
blue. 

HINTS  TO  THE  COLLECTOR 

I  believe  the  search  for  Sung  Kuan  a  more  hopeful  one  than 
that  for  Sung  Ju.  History  indicates  that  the  kilns  operated 
longer,  and  the  list  of  objects  in  the  T’ao  Shuo  gives  them  a 
much  more  prominent  place.  The  ware  was  heavy,  and 
many  little  objects  for  the  library  table,  such  as  seals,  were 
of  a  form  not  easily  destroyed.  They  must  exist  still,  both 
in  shops  and  private  collections. 

The  pate  can  hardly  be  relied  on  as  a  distinguishing  feature. 
It  was  of  two  varieties,  and  that  of  the  north  must  have  been 
very  like  the  Ju  and  other  Honan  wares. 

It  appears  always  to  have  been  crackled,  and  there  is  no 
record  that  the  crackle  was  ever  of  the  fish-roe  variety.  This 
will  serve  to  distinguish  it  from  the  fish-roe  crackle  Ko  wares 
and  from  the  uncrackled  Lung-ch’iian. 

There  was  no  cornelian  in  the  glaze,  or  at  least  no  mention 
is  made  of  it.  The  glaze  does  not  appear  to  have  been  as 
thick  and  unctuous  as  the  Ju. 

Made  under  the  imperial  eye,  as  it  were,  these  pieces  appear 
to  have  been  very  well  finished,  but  a  general  air  of  newness 
will  mark  a  piece  as  a  Ching-te-chen  imitation. 

Colouring  matter  rubbed  into  the  crackle  will  help  as  a 
means  of  identification,  but  it  does  not  appear  that  this  was 
always  done,  and  the  method  has  been  widely  used  at  other 
kilns. 


[  104  ] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 
THE  LUNG-CH’UAN  CELADONS 

In  the  specifications  for  research  submitted  to  me  no  mention 
was  made  of  the  Lung-ch’iian  wares,  but  the  place  which 
they  occupy  in  the  history  of  the  Sung  potteries  is  so  important 
that  they  cannot  be  omitted  without  destroying  the  symmetry 
of  the  story.  It  is  not  necessary,  however,  to  go  into  the 
matter  in  detail,  as  there  is  already  a  vast  amount  of  liter¬ 
ature  on  the  subject,  as  well  as  many  extant  specimens.  It 
is  safe  to  say  that  the  Lung-ch’uan  wares  are  better  known, 
both  to  foreign  collectors  and  to  native  connoisseurs,  than 
any  other  product  of  the  Sung  kilns.  Dr.  Bushell  refers  to 
the  Lung-ch’uan  as  “the  ch’ing  tz’u,  or  green  porcelain  par 
excellence  of  the  Chinese,  the  seiji  of  the  Japanese,  the  mar- 
tabani  of  the  Arabs  and  Persians.”  In  his  “Chinese  Art,” 
however,  he  illustrated  only  two  specimens  (and  these  both 
from  the  Ming  dynasty)  of  the  Lung-ch’uan  type,  but  not 
from  the  Lung-ch’uan  kilns. 

The  original  Lung-ch’iian  potteries  were  at  the  villages  of 
Liu-t’ien  and  Chin-ts’un,  at  the  foot  of  Liu-hua  Shan,  in  the 
district  of  Lung-ch’iian,  Ch’u-chou  prefecture,  province  of 
Chehkiang.  The  T’ao  Lu  states  that  the  kilns  were  in  opera¬ 
tion  from  the  beginning  of  the  Sung,  but  whether  they  began 
with  the  Sung  or  were  even  older  is  not  stated.  They  continued 
to  operate  until  the  end  of  the  Yuan  dynasty,  when  they  were 
moved  to  Ch’u-chou,  about  seventy-five  miles  down  the  river, 
where  work  was  actively  continued  until  1620. 

A  great  deal  of  confusion  will  be  avoided  if  it  be  recognised 
that  the  Lung-ch’uan  celadons  did  not  originate  with  the  Chang 
brothers.  The  T’  ao  Lu  discusses  them  under  three  heads,  the 
Lung-ch’uan,  the  Ko,  and  the  Chang  Lung-ch’iian,  and  tells 
us  definitely  that  the  former  dated  from  the  beginning  of  the 
Sung,  whereas  the  others  were  during  the  Sung  dynasty.  Dr. 
Hirth  gives  the  date  of  the  Chang  brothers  as  southern  Sung 
(1127-1278),  and  on  his  authority  Brinkley  refers  “the  earliest 
Lung-ch’uan  celadons”  to  this  date.  This  is  a  misconception. 
The  Chang  brothers  merely  carried  on  a  long-established  in- 

[  105  1 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


dustry,  but  made  such  changes  and  improvements  that  from 
that  time  their  names  were  attached  to  the  wares.  This  point 
is  not  clearly  brought  out  by  all  Chinese  writers  on  the  subject, 
and  modern  Chinese  connoisseurs  do  not  seem  always  to  make 
the  distinction.  The  T’ao  Lu  is  my  chief  authority  for  it, 
but  the  older  works  do  not  refute  it,  and  it  seems  to  me  to  be 
brought  out  in  Dr.  Hirth’s  translation  from  the  Ch’ing  Pi 
Tsang,  as  follows: 

“Old  Lung-ch’iian  porcelain  is  fine  in  paste,  thick  in  make, 
and  has  an  intense  onion-green  or  tree-green  colour.  The 
better  specimens  may  compete  with  the  Kuan  yao,  but  there 
is  not  much  in  the  way  of  a  crackled  surface,  a  brown  paste, 
and  an  iron  foot.  Moreover,  they  can  stand  a  very  great  deal 
of  wear  and  tear  and  will  not  easily  spoil.  But  as  the  manu¬ 
facturers  were  somewhat  clumsy,  the  workmanship  shown 
in  these  porcelains  cannot  be  classed  as  representing  the 
ancient  elegance  in  style.  When  the  white  paste  is  so  covered 
with  green  enamel  that  at  the  places  where  it  is  not  put  on 
thick,  white  patches  will  shine  through,  this  is  the  porcelain 
burned  by  Chang  Sheng  of  the  Sung  dynasty,  and  therefore 
called  Chang  yao;  when  compared  to  the  (ordinary)  Lung- 
ch’iian  it  displays  greater  delicacy  of  workmanship.” 

Obviously  here  there  is  something  preceding  the  Chang  yao 
with  which  it  is  compared.  The  word  “ordinary,”  which  Dr. 
Hirth  places  in  parenthesis,  does  not  occur  in  the  original. 
If  for  it  we  substitute  the  word  “old,”  actually  used  at  the 
beginning  of  the  paragraph,  we  shall  see  the  force  of  the 
comparison.  It  is  between  the  Chang  and  the  older  and 
coarser  ware  that  preceded  it,  not  between  the  Chang  and 
a  contemporary  inferior  product. 

Dr.  Hirth  also  translates  from  the  T’ao  Shuo: 

“  The  Ko  yao  of  the  Sung  Dynasty.  The  porcelain  factories 
of  Liu-t’ien  were  originally  in  the  hands  of  two  brothers,”  etc. 
In  my  opinion,  this  should  read  as  follows:  “  The  Ko  Kilns  of 
the  Sung.  Originally  Lung-ch’iian,  Liu-t’ien  kilns  in  the 
hands  of  two  brothers,”  etc.  The  text  does  not  require  the 

[  106  ] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 


rendering  that  these  were  the  first  Liu-t’ien  kilns,  and  the 
context  does  not  support  it. 

Admitting,  then,  that  there  are  three  sorts  of  Lung-ch’iian 
products,  and  not  two,  as  is  usually  assumed,  let  us  see  what 
are  the  characteristics  of  each. 

THE  OLD  LUNG-CH’UAN 

According  to  the  T’ao  Lu,  the  clay  was  fine  and  white.  The 
colour  of  the  glaze  was  an  onion  green  and  there  was  no 
crackle.  The  pieces  were  heavy  and  durable  and  not  of  very 
good  technique.  A  kind  of  basin  was  made  having  a  pair  of 
fishes  on  the  bottom  as  decoration  and  brass  rings  serving  as 
handles.  According  to  the  T’ang  Shih  Ssu  K’ao,  only  the 
finest  could  compete  with  Kuan  and  Ko,  and  few  had  crackle 
or  the  red  mouth  and  iron  foot. 

THE  KO 

This  was  ware  from  the  kiln  of  the  elder  Chang.  The  clay 
was  fine  and  of  reddish  colour  (though  perhaps  not  red  until 
after  firing).  The  fish-roe  crackle  was  so  prominent  a  feature 
of  this  ware  that  the  term  Ko  yao  has  come  to  be  applied  in 
a  general  way  to  all  monochromes  having  crackle  of  this 
variety.  The  body  was  comparatively  thin  and  the  colour 
was  a  ch'ing  varying  in  depth.  It  does  not  appear,  however, 
that  it  was  ever  an  onion  green  like  the  older  wares,  but  a 
native  connoisseur  tells  me  that  he  believes  the  genuine  Ko 
of  the  Sung  to  have  been  generally  of  a  darker  tinge  than  the 
Ching-te-chen  imitations.  A  straw-coloured  variety  was 
also  produced.  Genuine  Sung  Ko  should  show  the  red  mouth 
and  iron  foot. 


THE  CHANG  LUNG-CH’UAN 

These  were  from  the  kilns  of  the  younger  brother.  They 
were  finer  wares  than  the  Old  Lung-ch’iian,  and  differed 

[  io 7  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 

from  the  Ko  chiefly  in  having  no  crackle.  Also  it  is  said  that 
some  pieces  were  of  “kingfisher”  ctiing,  a  term  not  used  in 
describing  the  Ko.  It  is  with  regard  to  the  Chang  Lung- 
ch’iian  that  we  are  told  that,  notwithstanding  the  iron  foot, 
the  paste  was  white  where  not  exposed  to  the  direct  heat  of 
the  furnace.  I  incline  to  the  belief  that  the  same  is  true  of 
the  Ko,  and  that  the  Chang  brothers  probably  used  the 
same  kind  of  clay.  But  if  we  are  to  accept  the  statements  of 
the  T’ao  Lu  without  reservation,  we  must  hold  that  the  clay 
of  the  Old  Lung-ch’iian  was  white  before  and  after  firing, 
that  of  the  Ko  reddish,  and  that  of  the  Chang  Lung-ch’iian 
white  with  the  quality  of  turning  red  in  the  furnace. 

With  the  exception  of  the  notice  of  a  pair  of  fishes  appearing 
in  the  bottom  of  Old  Lung-ch’iian  basins,  the  T’ao  Lu  says 
nothing  with  regard  to  the  decoration  of  Lung-ch’iian  wares. 
We  know,  however,  from  existing  specimens,  that  flowers, 
fishes,  scroll-work,  etc.,  similar  to  the  designs  used  on  the 
Ting  yao  were  commonly  applied,  both  incised  and  in  relief. 
The  Ko  relied  for  decoration  on  its  crackle. 

All  sorts  of  articles  were  made  at  the  Lung-ch’iian  kilns. 
Heavy  basins,  bowls,  and  plates  seem  to  have  been  the 
characteristic  forms  of  the  old  ware  and  of  the  Chang  Lung- 
ch’iian.  The  author  of  the  T’ao  Shuo  enumerates  many 
articles  of  Ko  ware,  in  quaint  and  grotesque  form,  for  use  on 
the  study  table.  Many  fine  vases  of  the  Ko  type  are  now  seen, 
but  these  are  comparatively  modern. 

VARIETIES  AND  IMITATIONS 

In  addition  to  the  old  ware  and  the  work  of  the  Chang 
brothers,  we  have  seen  that  similar  but  somewhat  inferior 
ware  was  produced  at  Ch’u-chou  until  the  beginning  of  the 
seventeenth  century.  The  Ching-te-chen  kilns  have  always 
been  active  in  the  imitation  of  these  wares,  particularly  of 
the  Ko  type,  and  they  have  turned  out  products  far  superior, 
in  workmanship  at  least,  to  their  originals. 

1  108  ] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 


EXAMPLES  OF  LUNG-CH’UAN  CELADONS 

I  am  not  aware  of  having  seen  any  pieces  of  genuine  Sung  Ko. 
I  believe,  however,  that  such  may  be  found,  particularly  in 
small  articles,  both  in  shops  and  private  collections. 

A  pair  of  fine  vases  of  the  Ko  type  were  recently  presented 
to  Mrs.  Calhoun  by  President  Yuan  Shih-k’ai.  These  are 
too  fine  in  workmanship  to  be  referred  to  the  Sung  kilns. 

I  have  in  my  own  possession  a  large  plate  of  the  Lung- 
ch’iian  type.  It  is  heavy  and  of  coarse  workmanship,  sea 
green  in  colour,  and  has  a  checkered  pattern  incised  in  the 
paste  under  the  glaze.  It  has  the  characteristics  of  the  old 
ware,  but  may  have  proceeded  from  the  Ch’u-chou  kilns. 

Many  good  celadons  are  to  be  found  in  Japan.  In  the 
Baron  Iwasaki  collection  is  a  spotted  celadon  dating  from 
the  Ming.  This  yao  pien ,  or  “furnace  transmutation” 
variety,  is  exceedingly  rare. 

Bushell’s  “Chinese  Art”  figures  two  Ming  celadons  of  the 
Lung-ch’iian  type.  One  of  these  is  a  plate  with  floral  decora¬ 
tion  incised  under  the  glaze,  the  other  a  double-bodied  vase, 
the  outer  part  pierced  with  scroll  foliage. 

THE  CHUN 

The  Chim  wares  have  never  been  accorded  high  rank  in 
Chinese  literature.  I  have  followed  the  order  of  the  T’ao  Lu 
in  placing  them  after  the  Ting,  Ju,  Kuan,  and  Ko;  and  the 
T’ao  Lu,  in  doing  so,  has  followed  the  example  of  the  older 
writers.  The  author  of  the  T’ao  Shuo  describes  the  ware, 
quoting  various  authorities,  but  I  cannot  find  that  he  has 
given  it  any  place  in  his  catalogue  of  noted  pieces.  The 
Chun  was  not  made  in  the  classical  shapes  of  the  old  bronzes, 
and  its  brilliant  colouring  did  not  appeal  to  the  old-time 
Chinese  scholars  as  did  the  quiet  elegance  of  the  Ting  and 

[  109  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


the  celadons.  They  were  probably  somewhat  inclined  to 
class  it  as  they  do  cloisonne  enamels,  as  “fit  only  for  the 
apartments  of  the  women  and  unsuited  to  the  library  of  a 
scholar.”  But  intrinsic  beauty  it  always  possessed  and  the 
passing  of  years  has  given  it  the  dignity  of  the  antique.  It 
has  fully  come  into  its  own,  and  is  enjoying  a  vogue,  both 
among  native  and  European  collectors,  which  it  is  not  likely 
to  lose.  A  Chinese  friend  recently  remarked  that,  from  this 
time  onward,  a  piece  of  genuine  Sung  Chun  must  go  on 
increasing  in  interest  and  value,  no  matter  what  changes 
may  occur  in  fads  and  fashions. 

The  place  at  which  this  ware  was  made  was  originally 
known  as  Chiin-t’ai  or  Chiin-chou,  the  name  being  changed 
to  Yii-chou  under  the  Ming  dynasty.  It  is  in  K’ai-feng  pre¬ 
fecture,  province  of  Honan.  Thus  the  Chun  proceeded  from 
the  same  keramic  centre  as  the  early  Ch’ai  and  the  Sung  Ju 
and  Kuan.  The  kilns  dated  “from  the  beginning  of  the 
Sung,”  so  that  we  may  consider  the  Chun  as  among  the 
oldest  of  the  Sung  wares.  Under  the  Yuan  dynasty  they 
turned  out  the  well-known  Yuan  tz’u,  a  product  inferior  to 
their  work  under  the  Sung,  but  still  possessing  much  merit. 
When  they  ceased  to  operate,  I  have  not  been  able  to  learn. 
The  degeneracy  of  the  wares  probably  began  as  soon  as  the 
Sung  capital  was  transferred  to  the  south. 

The  T’ao  Lu  quotes  the  T’ang  Shih  Ssu  K’ao  to  the  effect 
that,  of  the  Chun  wares,  only  the  pots  and  saucers  for  growing 
the  calamus  were  of  really  good  material.  Other  articles  are 
said  to  have  been  of  sandy  paste.  One  finds  peculiar  dis¬ 
crepancies  among  writers  in  English  with  regard  to  the 
quality  of  the  Chun  paste.  Brinkley  calls  it  a  kind  of  faience, 
although  he  speaks  of  the  Ju  as  a  porcelain.  This  is,  of  course, 
a  matter  of  definition  of  terms.  Neither  ware  approached 
translucency.  Hobson  correctly  states  that  the  Chun  varied 
from  porcellanous  stoneware  to  brown  and  red  pottery. 
There  is  no  confusion  on  the  subject  in  the  minds  of  the 
Chinese.  They  separate  the  Chiin  into  two  distinct  classes, 

[  no  ] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

and  a  dealer  or  connoisseur  will  always  refer  to  a  piece  as  sha 
t’ai  (sandy  paste)  or  tz’u  t’ai.1 

At  the  beginning  of  my  researches  I  was  very  sceptical 
as  to  the  Sung  origin  of  this  latter  class.  The  pate  is  very 
unlike  that  of  other  Honan  wares,  and  in  comparison  with  the 
sha  t  ai  it  is  found  associated  with  a  superior  technique  which 
suggests  a  later  and  more  advanced  stage  of  the  art.  One 
naturally  suspects  that  he  is  confronted  with  an  imitation 
from  the  kilns  of  Ching-te-chen,  but  having  repeatedly  found 
such  pieces  vouched  for  by  thoroughly  competent  and  ab¬ 
solutely  disinterested  Chinese  authorities,  I  now  feel  com¬ 
pelled  to  admit  their  verdict  and  to  credit  their  explanation. 
The  keeper  in  charge  of  the  collection  of  H.  E.  Sheng  Hsiian- 
huai  assured  me  that  during  the  reign  of  the  Sung  emperors 
a  certain  amount  of  tribute  clay  was  annually  sent  from  the 
vicinity  of  Ching-te-chen  to  be  used  in  the  imperial  kilns, 
and  that  this  was  devoted  to  the  manufacture  of  the  calamus 
pots  and  bowls  and  other  fine  articles  for  imperial  use,  whereas 
the  coarser  articles  of  sha  t’ai  were  made  from  the  native  clays. 
H.  E.  T’ang  Shao-yi  corroborates  this  assertion.  Naturally 
the  best  quality  of  glaze  and  the  skill  of  the  best  workmen 
would  be  applied  to  the  pieces  made  for  imperial  use  and  from 
tribute  clay,  and  thus  we  find  the  great  discrepancy  in  these 
vases  fully  accounted  for. 

The  colour  and  quality  of  the  glazes  were  the  distinguishing 
features  of  the  Chun.  The  T’ao  Lu  says  that  rouge  or  cinna¬ 
bar  red  was  most  esteemed,  while  onion-green  and  inky- 
purple  ranked  next,  all  three  being  considered  superior 
provided  the  colours  were  pure  and  unmixed.  Other  tints 
produced  by  the  admixture  of  these  three  colours  in  the  firing 
must  be  regarded  as  accidents  and  not  separate  varieties. 
If  the  old  potters  were  really  aiming  to  produce  monochromes, 
examination  of  existing  specimens  would  indicate  that 
accidents  were  much  more  numerous  than  successful  essays. 

i  For  the  discussion  of  the  word  tz’u,  see  Glossary;  here  it  means  what  Hobson 
calls  “porcellanous  stoneware.” 

[  HI  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 

Among  the  fanciful  names  applied  to  various  shades  were 
plum-green,  parrot-green,  hai-t’ang  red,  pig’s  liver,  mule’s 
lung,  mucus,  sky-blue,  etc.  These  terms  are  taken  from  the 
books.  I  have  not  heard  them  applied  to  the  Chun  wares 
by  native  connoisseurs,  except  in  the  case  of  the  fieri  lan,  or 
“sky-blue.”  The  best  reds  are  referred  to  as  mei-kuei-hung, 
or  “rose-red,”  and  yen-chih,  or  “rouge-red.”  The  latter  two 
terms  do  not  mean  quite  the  same  tinge,  yet  I  have  heard 
them  applied  by  different  connoisseurs  to  the  same  piece. 
Evidently  the  question  of  colour  terminology  is  as  vexing 
to  the  Chinese  as  to  ourselves.  I  have  seen  no  brilliant  greens 
appearing  on  genuine  Chiin,  but  in  streaks  and  bands  where 
the  glaze  appears  to  have  run  thin  one  sees  a  dull  tint  which 
I  have  heard  characterised  as  “eel-skin”  or  “crab-shell.” 
The  old  writers  lay  little  stress  on  the  blue  shades  of  this  ware, 
and  the  pieces  in  which  it  prevailed  do  not  appear  to  have  been 
highly  esteemed.  Yet,  as  a  matter  of  fact,  blue  of  varying 
tint  is  the  prevailing  colour  in  most  extant  specimens.  Like 
the  blue  shown  in  our  specimen  of  Yuan  tz’u,  it  forms  a  sort  of 
groundwork  for  the  other  colours,  which  appear  merely  as 
transmutation  effects.  In  its  deeper  tint  it  is  l?ien  lan,  or 
“sky-blue”;  when  more  delicate  it  approaches  yii  ko  fien 
ch’ing,  or  “blue  of  the  sky  after  rain.”  In  English  works  it 
has  been  called  blue-grey  and  lavender-grey.  It  does  fre¬ 
quently  show  a  decided  tinge  of  lavender,  and  it  must  be  re¬ 
membered  that  it  shades  gradually  into  purple  of  varying  depth, 
and  from  purple  into  the  highly  prized  reds.  But  even  when 
the  outside  of  the  piece  approaches  nearest  to  a  monochrome 
red,  the  lip  and  lining  will  still  show  the  blue  as  a  ground¬ 
work. 

To  my  mind,  there  is  a  strong  similarity  in  colouring 
running  through  all  the  early  Honan  wares,  for  which  the 
study  of  books  on  the  subject,  whether  native  or  European, 
does  not  fully  prepare  us.  The  only  place  where  I  have  seen 
the  point  adequately  brought  out  is  in  Hobson’s  introduction 
to  the  Catalogue  of  the  Burlington  Fine  Arts  Exhibition  of 

1  112  ] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

1910.  The  old  Honan  potters  were  all  trying  to  imitate  the 
Ch’ai,  and  in  their  tradition  at  least  the  Ch’ai  was  blue. 

That  which  particularly  distinguished  the  Chiin  was  the 
furnace  transmutation  effect.  This  was  probably  at  first 
purely  accidental  and  afterward  eagerly  seized  upon  and 
controlled,  to  some  extent  at  least,  by  the  Chiin-chou  potters. 
We  have  seen  the  same  thing  occurring  in  old  celadons,  but 
rarely.  As  we  have  noted  elsewhere,  an  unexpected  trans¬ 
mutation  occurring  at  Chi-chou  so  frightened  the  potters 
that  they  closed  their  kdns  and  ran  away.  Fortunately  the 
workmen  of  Chiin-chou  were  less  superstitious. 

It  should  be  noted  that  the  Chinese  classify  furnace  trans¬ 
mutation  effects  as  “natural”  and  “artificial,”  and  that 
the  peculiar  excellence  of  genuine  old  Chiin  lies  in  the  fact 
that  it  belongs  to  the  former  class.  The  latter  I  have  heard 
characterised  by  a  Chinese  art  lover  as  “hideous.”  I  have 
seen  pieces  of  Chiin  described,  in  catalogues  and  elsewhere, 
as  though  one  colour  had  been  applied  over  another.  This 
could  be  true  only  of  imitations.  Note  how  in  our  shards  of 
Yiian  tz’u  each  shade  of  colour  extends  through  the  thick 
glaze  to  the  body  of  the  piece.  A  genuine  Sung  Chiin,  if 
broken  and  examined,  will  show  the  same  effect. 

As  a  rule,  the  Chiin  was  not  crackled,  and  this,  in  my  mind, 
forms  one  means  of  distinguishing  it  from  the  Yiian  dynasty 
output  from  the  same  potteries.  The  distinction  is  not  abso¬ 
lute,  however.  There  are  crackled  pieces  extant  which, 
owing  to  the  superior  quality  of  their  glaze,  have  been  classed 
as  Sung.  I  have  seen  one  piece  uncrackled  except  for  a  spot 
of  fine,  accidental  crackle  about  the  size  of  a  silver  dollar  on 
the  inside  rim. 

A  passage  from  the  Liu  Ch’ing  Jih  Cha,  quoted  by  the  T’ao 
Lu,  speaks  of  marking  called  t’u-ssu.  wen,  sometimes  seen  on 
the  Chiin  wares.  This  has  occasioned  much  dispute.  Julien 
translates  it  literally  “hare’s  fur.”  It  is,  however,  the  Chinese 
name  for  “dodder,”  and  Dr.  Hirth  regards  this  as  the  more 
likely  rendering.  Brinkley,  in  commenting  on  the  passage 

[  113  1 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


falls  into  a  peculiar  error.  He  says:  “What  the  passage  in 
the  Liu  Ch’ing  Jih  Cha  conveys  is  that  the  colours  of  the 
Chun  yao  presented  a  variegated  appearance,  like  the  green 
and  white  on  the  leaf  of  the  dodder.”  This  is  of  course 
untenable,  as  it  is  a  well-known  fact  that  the  dodder  has  no 
leaf.  However,  the  yellow  stem  of  the  dodder,  winding  in 
and  out  among  the  leaves  of  the  plant  on  which  it  feeds, 
does  present  a  striking  colour  contrast,  and  might  well  be 
used  for  comparison  if  anything  similar  occurred  in  the  Chiin. 
One  could  easily  understand  it  as  applied  to  the  golden  lines 
seen  in  the  black  Chien  tea  bowls,  but  the  Chiin  presents  no 
such  appearance,  and  the  term  is  never  heard  applied  to 
Chiin  by  modern  Chinese  connoisseurs.  These  latter  do, 
however,  point  with  great  pride  to  the  ctiiu-ying  wen,  or 
“earth-worm  tracks,”  which  are  to  be  found  most  clearly 
marked  in  the  bottoms  of  the  best  pieces.  These  are  the 
V-shaped  markings  to  which  Brinkley  refers  as  “constituting 
in  the  eyes  of  some  virtuosi  the  difference  between  excellence 
and  mediocrity.”  They  form  the  only  characteristic  markings 
of  the  Chiin  wares,  and  so  far  as  my  observation  goes  they 
are  peculiar  to  the  Chiin,  so  that  they  constitute  valuable 
marks  of  genuineness.  The  more  clearly  defined  they  are, 
the  more  highly  the  piece  is  prized.  To  our  minds  they  would 
never  suggest  either  “hare’s  fur”  or  “dodder,”  but  on  the 
other  hand  they  do  strikingly  resemble  “earth-worm”  tracks, 
and  that  is  what  the  Chinese  call  them.  They  are  quite 
familiar  to  all  who  have  seen  good  specimens  of  Chiin  saucers 
or  bulb  bowls. 

The  Chiin  was  undecorated  except  for  the  wonderful  play 
of  colours  in  the  glaze,  unless  the  rows  of  knobs  on  the  outside 
of  certain  pieces  be  classed  as  decoration.  The  wares  of  the 
Chiin  potters  appear  to  have  been  for  real  use  rather  than 
ornament,  and  this  may  have  tended  to  discredit  them. 
The  flower  pots,  with  their  saucers,  on  which,  as  we  have  seen, 
their  best  skill  was  expended,  were  actually  adapted  to  the 
purpose  of  growing  plants  and  not  to  serve  by  themselves 

[  114  1 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

as  cabinet  ornaments.  The  passage  in  the  T’ao  Lu  referring 
to  these  pots  and  saucers  has  proved  a  stumbling-block  to 
numerous  translators,  and  is  itself  a  fine  example  of  the 
difficulties  with  which  the  Chinese  language  bristles.  Julien, 
the  pioneer,  went  far  afield  by  rendering  it  “the  vases  which 
had  a  sword-grass  painted  on  the  bottom,”  while  others, 
recognising  the  fact  that  this  was  never  done  and  endeavour- 
ing  to  correct  him,  have  referred  to  these  pots  as  character¬ 
ised  by  their  finely  finished  bottom.  The  difficulty  is  in  the 
Chinese  disregard  of  connectives,  and  the  text  is  open  to 
almost  any  construction,  even  that  of  Julien.  But  the  ex¬ 
perience  of  the  collector  conclusively  proves  that  the  expres¬ 
sion  p’en  ti  here  used  means  “the  pot  and  its  saucer”  and 
not  “the  bottom  of  the  pot.”  The  pots  have  holes  pierced 
in  the  bottom  to  permit  the  water  to  escape,  and  so  neces¬ 
sarily  rest  in  a  shallow  saucer  meant  to  contain  the  surplus 
water.  They  narrow  toward  their  bases,  and  the  saucers  in 
which  they  rest  should  not  be  wider  than  the  mouths  of  the 
pots.  There  should  be  similarity  of  shape — e.g.,  a  hexagonal 
pot  should  have  a  hexagonal  saucer.  When  the  two  are  intact, 
matching  in  shape  and  colouring,  the  value  of  each  piece  is 
greatly  enhanced.  Naturally  many  more  saucers  than  pots 
are  to  be  found  in  collections,  as  from  their  shape  they  were 
much  less  likely  to  be  destroyed. 

There  is  one  variety  of  dish  which  I  have  heard  classified 
by  some  Chinese  collectors  as  ti,  or  “saucer,”  and  by  others 
as  hsi,  a  term  usually  applied  to  bowls  for  washing  brushes. 
Some  of  these  are  beautifully  finished  pieces.  Like  the  ordin¬ 
ary  ti,  they  rest  upon  short  legs,  but  the  piece  itself  is  some¬ 
what  less  shallow  than  any  ti  which  I  have  seen  associated 
with  its  p’en.  These  are  usually  finished  with  rows  of  knobs 
on  the  outside.  Some  of  them  might  serve  quite  satis¬ 
factorily  as  narcissus  bulb  bowls,  and  I  believe  they  have  been 
so  designated  in  some  European  collections.  However,  I 
am  inclined  to  think  that  they  originally  had  pots  to  match. 
A  friend  whose  collection  I  recently  had  the  pleasure  of 

[ii5l 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


examining  had  three  of  these  pieces,  of  varying  size  and  col¬ 
ouring,  which  he  classified  as  hsi.  He  also  possessed  a  mag¬ 
nificent  pot  which  had  lost  its  saucer.  On  my  expressing  regret 
at  the  loss  of  the  saucer,  he  placed  each  of  the  three  in  succes¬ 
sion  underneath  the  pot  to  test  the  effect.  Each  had  to  be 
rejected,  as  there  was  in  each  case  something  lacking  in 
size  or  colouring,  but  in  shape  they  were  perfectly  adapted. 

Among  other  articles  mentioned  in  the  T’ao  Lu  as  having 
been  manufactured  at  the  Chun  kilns  are  garden  stools,  small 
round  boxes  with  covers,  square  vases  and  jars. 

VARIETIES  AND  IMITATIONS 

It  is  said  that  specimens  of  Chun  showing  all  the  variations 
of  colour  that  we  have  enumerated  were  sent  from  the  palace 
to  the  Ching-te-chen  factories  to  serve  as  models  during  the 
reign  of  Yung  Cheng.  These  would,  of  course,  be  the  best 
of  their  class,  and  we  are  told  that  the  imitations  were  executed 
with  remarkable  skill  and  in  great  numbers.  The  T’ao  Lu, 
after  citing  the  criticism  of  the  T’ang  Shih  Ssu  K’ao  regarding 
the  coarse  sandy  material  of  certain  Chun  pieces,  says:  “This 
can  only  apply  to  genuine  old  Chiin,  as  the  Ching-te-chen 
imitations  showed  splendid  results  in  vases  and  jars  also.” 
Evidently  the  author  means  to  assert  that  in  the  case  of 
vases,  jars,  etc.,  at  least  so  far  as  the  quality  of  the  paste  is 
concerned,  the  imitation  is  to  be  distinguished  from  the  original 
by  its  superiority.  We  must  remember,  however,  that  this 
author  was  writing  the  history  of  the  Ching-te-chen  kilns,  not 
the  history  of  pottery  in  general,  and  that  he  was  interested 
in  glorifying  the  work  of  the  Ching-te-chen  potter.  The 
modern  Chinese  connoisseur  prizes  a  good  Yung  Cheng  Chiin 
as  a  thing  of  interest  and  beauty  in  itself,  but  he  classes  it  far 
below  his  genuine  old  Chiin,  and  so  far  as  I  can  judge  from 
the  specimens  examined,  there  is  no  reason  why  he  should 
ever  mistake  the  one  for  the  other. 

But  the  kilns  of  Ching-te-chen  have  been  turning  out 

[  u6  ] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

imitations  of  the  Chun  wares  since  the  Yung  Cheng  period, 
and  I  understand  that  the  Japanese  have  done  the  same. 
There  was  nothing  fraudulent  in  the  work  of  the  Yung  Cheng 
potter.  He  was  honestly  striving  to  emulate,  and  if  possible 
to  improve  upon,  the  old  art.  But,  according  to  Burton, 
these  later  imitators  are  working  with  intent  to  deceive.  He 
says  that  their  works  are  clever  forgeries,  and  that  they 
imitate  so  well  the  technical  imperfections  of  the  old  wares 
that  it  seems  impossible  to  distinguish  them.  The  Chun 
wares  of  sha  t’ ai,  or  sandy  paste,  have  been  imitated  in  I-hsing 
clay. 

The  Yuan  tz’u,  which  is  the  Yuan  dynasty  descendant  of 
the  Sung  Chiin,  and  which  in  native  collections  is  usually 
found  side  by  side  with  it  though  far  less  highly  prized, 
deserves  a  section  to  itself. 

EXAMPLES  OF  THE  CHUN  WARES 

In  the  opinion  of  H.  E.  T’ang  Shao-yi,  the  best  complete  set 
of  Chiin  pieces  now  in  existence  consists  of  four  flower  pots, 
with  their  saucers  intact,  eight  pieces  in  all,  which  were 
formerly  the  property  of  Her  Majesty  the  late  Empress  Dow¬ 
ager  Tzu  Hsi.  These  were  so  highly  prized  by  her  that  she 
kept  them  always  upon  the  table  before  her  throne  or  chair 
of  state,  filled  with  flowers  appropriate  to  the  season,  and 
there  Mr.  T’ang  several  times  had  the  opportunity  of  seeing 
them.  These  pots  are  hexagonal  in  shape,  and  the  colour  is 
the  finest  vermilion.  Mr.  T’ang  never  had  the  opportunity 
of  examining  them  closely,  and  could  not  describe  them  in 
detail,  but  in  his  judgment  they  are  priceless.  He  believes 
them  to  be  still  stored  in  the  palace,  though  it  is  conceivable 
that  during  the  troublous  period  of  the  Dynasty’s  downfall 
they  may  have  been  stolen  and  concealed,  or  even  put  upon 
the  market  by  eunuchs  or  palace  servants. 

The  finest  collection  of  Chiin  to  which  I  have  been  given 
access  is  that  of  Mr.  (Chao)  Ch’ing  K’uan,  a  retired  Manchu 

1  ii  7  1 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


gentleman  resident  in  Peking.1  Among  his  pieces  I  may- 
mention  the  following: 

A  well-matched  flower  pot  and  saucer,  each  quadrangular 
in  shape,  the  pot  widening  toward  the  top,  as  most  of  these 
pieces  do,  and  presenting  the  appearance  of  a  truncated 
pyramid  inverted.  The  blue  of  the  groundwork  is  the  t’ien-lan, 
or  sky-blue,  and  the  prevailing  colour  is  a  fine  red.  This  red 
being  the  colour  most  highly  prized  by  the  Chinese,  Mr. 
Ch’ing  K’uan  considers  the  set  the  best  in  his  collection. 
The  incised  numeral  is  io. 

Another  set — pot  and  saucer — are  oblong  hexagonal.  The 
prevailing  colour  is  a  splendid  aubergine.  This  pot  is  re¬ 
markable  for  its  “earth-worm  tracks,”  which  are  peculiarly 
noticeable  both  outside  and  inside.  Inside  they  are  largely 
V-shaped  markings,  but  outside  they  extend  in  long  lines 
which  really  resemble  more  than  any  others  that  I  have  seen 
the  lines  which  might  be  made  by  an  earth-worm  wriggling 
in  the  sand.  Unfortunately  the  rim  of  this  pot  had  been 
removed  owing  to  injury,  and  the  exposed  upper  portion  of 
the  pot  had  been  ground  down  and  painted  brown.  The 
numeral  of  the  pot  is  7,  and  that  of  the  saucer  10. 

Another  set  has  four  rounded  sides  and  shows  an  aubergine 
colouring  somewhat  lighter  than  the  preceding.  Its  “earth¬ 
worm  tracks”  are  also  less  striking.  The  pot  is  number  4, 
and  the  saucer  8. 

I  did  not  measure  any  of  these  pieces.  The  height  of  the 
pots  as  they  rested  in  the  saucers  probably  average  about 
seven  inches.  Both  pots  and  saucers  rest  upon  squat  feet 
corresponding  in  number  to  the  sides.  The  bottoms  of  the 
pots  are  pierced  with  holes  to  permit  the  escape  of  surplus 
water.  They  also  show  numerous  small  spur-marks. 

There  is  one  pot  with  globular  body  and  spreading  mouth, 
but  without  saucer.  This  is  about  seven  inches  high.  The 
prevailing  colour  is  blue,  but  some  good  touches  of  red  appear 
on  the  bulging  portion  outside.  The  numeral  is  6. 

1  The  surname  Chao  has  been  assumed  by  Mr.  Ch’ing  K’uan  since  the  revolu¬ 
tion  made  him  a  Chinese  citizen.  r  „  , 

[  Il8] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

This  collection  also  contains  a  number  of  fine  hsi ,  or  bowls 
for  washing  brushes.  It  was  by  this  term  that  the  owner 
invariably  referred  to  them.  However,  hereafter  I  shall 
mention  such  pieces  as  bulb  bowls,”  that  being  the  name 
usually  given  them  by  writers  in  English.1 

I  was  not  able  to  see  the  collection  of  H.  E.  T’ang  Shao-yi, 
it  being  stored  in  Tientsin.  He  showed  me,  however,  one 
favourite  piece  kept  in  his  home  in  Shanghai.  This  is  a 
bulb  bowl  about  three  inches  high  and  six  inches  in  its  greatest 
diameter.  The  best  colouring  is  the  purple  of  the  upper  inside 
part.  The  bottom  of  the  interior  is  dotted  and  mottled  and 
of  a  nondescript  colour  which  Mr.  T’ang  characterised  as 
“onion  ch’ing ,”  explaining,  however,  that  in  his  idea  the 
ch’ing  of  the  onion  is  more  blue  than  green.  The  great  beauty 
of  the  piece  is  in  the  excellence  of  its  V-shaped  markings  or 

earth-worm  tracks,”  which  are  peculiarly  well  defined. 
The  exterior  is  finished  with  the  usual  row  of  knobs.  The 
numeral  is  9. 

The  best  specimens  of  Sung  Chun  in  the  collection  of 
H.  E.  Sheng  Hsiian-huai  were  destroyed  by  a  shell  during 
the  recent  fighting  at  the  Kiangnan  Arsenal.  Among  the 
articles  remaining  were: 

A  flower  pot  which  the  keeper  characterised  as  a  Sung 
Chun  but  not  a  Kuan  or  Imperial  Chun.  It  is  of  sha  t’ai , 
or  sandy  paste. 

A  ti ,  or  saucer,  about  three  inches  in  its  greatest  diameter, 
the  upper  rim  incurved.  This  is  of  crude  appearance  but  has 
some  good  spots  of  red  colouring.  A  mass  of  glaze  is  collected 
at  the  bottom.  The  piece  may  be  regarded  as  an  accident 
of  the  furnace,  and,  though  not  well  finished,  is  interesting. 

A  writer’s  small  water  pot  of  tz’u  t’ai,  or  the  better  quality 
of  paste.  The  colour  is  “blue  of  the  sky  after  rain”  and  the 
glaze  remarkably  thick,  as  may  be  seen  where  it  is  collected 
in  irregular  masses  at  the  base. 

1  Mr.  Ch’ing  K’uan’s  excellent  collection  of  Yuan  tz’u  will  be  mentioned  else¬ 
where. 

1  1 19  1 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


A  large  plate  of  sha  t’ai,  the  colour  purple  and  blue  with 
lines  of  red. 

A  bowl  with  crackle  and  the  colour  effects  showing  in  large 
splashes.  This  had  to  me  the  appearance  of  Yuan  tz’u,  but 
the  keeper  said  that  he  classified  it  as  Sung  owing  to  the 
peculiar  lustre  of  the  glaze. 

In  a  shop  off  Kiukiang  Road,  Shanghai,  I  found  an  excellent 
specimen  of  hsi,  or  bulb  bowl.  It  is  a  little  over  three  inches 
high,  and  more  than  nine  inches  in  diameter.  The  colours  are 
sky-blue  and  aubergine,  and  the  V-shaped  markings  are  ex¬ 
cellent.  On  a  spot  inside,  about  the  size  of  a  silver  dollar, 
a  fine  crackle  appears.  The  numeral  is  2.  The  dealer  in¬ 
formed  me  that  this  piece  belonged  to  a  private  collection  and 
had  been  placed  with  him  to  be  sold  on  commission. 

In  the  Wen  Yuan  Tzu,  Newchwang  Road,  Shanghai,  I 
found  a  piece  called  by  the  dealer  a  flower  pot,  which  might 
be  described  as  beaker-shaped.  It  has  a  bulging  centre, 
narrowing  abruptly  and  then  widening  again  to  the  foot.  The 
original  shape  of  the  upper  portion  could  not  be  determined, 
as  it  had  been  injured  and  a  portion  ground  off.  A  part  of 
the  upper  portion  still  appears,  but  the  symmetry  is  destroyed. 
The  prevailing  colour  was  called  by  the  dealer  mei-kuei-hung, 
or  “rose-red,”  but  to  my  eye  this  red  bears  a  distinct  tinge 
of  purple.  The  groundwork  and  inner  lining  are  sky-blue, 
and  a  colour  something  like  eel-green  appears  at  the  edges 
where  the  glaze  has  run  thin.  A  splash  of  blue  colour  appears 
on  the  inverted  bottom.  Four  bars  project  from  each  of  the 
three  sections  of  the  piece.  The  numeral  is  6.1 

Mr.  Chun  Chik-yu  writes  me  that  he  possesses  three  first- 
class  specimens  of  genuine  “Northern  Sung  Chun,”  and  he 
figures  and  describes  a  pot  with  its  saucer.  These  two  pieces 
have  four  rounded  sections  and  are  oblong  in  shape,  the  great¬ 
est  length  being  seven  inches  and  the  greatest  width  five  and 

1  H.  E.  T’ang  Shao-yi  and  H.  E.  Chang  Yin-t’ang  both  examined  this  piece 
and  certified  to  its  genuineness,  though  they  considered  its  value  greatly  deteriorated 
by  the  injury  to  the  upper  portion.  The  colouring  they  pronounced  extremely  good. 

I  120] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

a  fraction.  The  pot  is  two  and  three-eighths  inches  high. 
The  paste  he  calls  a  ‘  white,  warm  wax  colour,”  and  says  that 
this  may  be  determined  by  examination  where  the  glaze  has 
run  thin,  and  also  by  the  spur-marks.  It  is  “hard,  compact, 
and  lustrous,”  qualities  which  give  a  good  background  for 
the  glaze.  The  colour  is  a  deep  plum-purple  with  touches  of 
rose-red  at  the  four  legs.  A  yellowish  wax  colour  shows  at 
the  edges,  and  the  inside  is  bluish.  “Both  inside  and  outside 
are  covered  with  a  thin  frost,  and  the  worm  markings  show 
the  truer  colours.”  Mr.  Chun  encloses  a  drawing  of  the 
“earth-worm  markings.”  Like  the  piece  described  from  the 
collection  of  Mr.  Ch’ing  K’uan,  these  are  V-shaped  on  the 
inside  of  the  piece,  and  outside  run  into  longer  lines,  which 
really  suggest  the  name  given  them.  A  few  fine  crackles  which 
Mr.  Chun  calls  “age-crackles”  are  to  be  found  “in  the  parts 
exposed  to  water.”  The  bottom  shows  five  colours — dark 
rose-red,  dark  purple,  sky-blue,  yellowish  olive,  and,  at  the 
numeral  mark  and  another  spot  where  the  glaze  is  thin,  a 
tobacco  brown.  The  numeral  is  7.1 

An  interesting  collection  examined  is  that  of  Mr.  Kuan 
Mien-chiin  of  Peking.  In  addition  to  various  pieces  similar 
to  those  already  described,  he  has  a  garden  stool  about  two 
feet  high,  similar  in  size  and  shape  to  those  manufactured 
and  used  nowadays,  which  he  believes  to  be  a  genuine  Sung 
Chiin.  As  one  would  expect  from  the  reference  to  these  stools 
in  the  T’ao  Lu,  it  is  of  sha  t’ai,  and  not  the  finest  technique, 
but  it  is  none  the  less  an  object  of  great  beauty  and  interest. 
It  has  openings  in  the  shape  of  animal  heads  called  shou  t’ou, 
and  is  decorated  with  rows  of  knobs.  The  prevailing  colour  is 
“blue  of  the  sky  after  rain,”  but  is  quite  flecked  and  dappled. 
The  glaze  is  pitted  in  places  with  tiny  holes  which  Mr.  Kuan 
called  “ant-tracks.”  On  the  unglazed  surface  of  the  interior 
are  peculiar  markings  which  look  as  though  the  paste  had  been 

1  In  many  pieces  examined  I  have  noted  the  frosty  appearance  to  which  Mr. 
Chun  refers.  The  colour,  particularly  on  the  inside,  which  is  usually  blue,  is  deeper 
and  clearer  where  the  V-shaped  marks  occur. 

[  121  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


pressed  and  patted  into  shape  with  a  shell.  The  stool  was 
excavated  along  the  line  of  the  Pien-Loh  Railway.  I  had  the 
temerity  to  ask  Mr.  Kuan  its  value.  He  said  that  it  cost  him 
“three  obeisances,”  and  was  not  for  sale  at  any  price. 

Among  Mr.  Kuan’s  specimens  was  a  flower  pot  from  the 
kilns  of  Ching-te-chen.  It  was  not  meant  to  deceive,  for  it 
bore  the  Yung  Cheng  mark.  The  colour  is  too  uniform  as 
compared  with  the  old  pieces,  and  the  glaze  lacks  the  peculiar 
opalescent  quality  of  the  Sung  Chiin.  The  technique  is 
excellent. 

This  list  is  already  so  long  that  I  will  not  describe  the  various 
pieces  noted  in  catalogues,  etc.  I  would,  however,  call  the 
attention  of  the  reader  to  the  Catalogue  of  the  Burlington 
Fine  Arts  Exhibition  of  1910. 

HINTS  TO  THE  COLLECTOR 

The  Chiin  kilns  operated  for  a  long  time,  and  the  output  was 
probably  large.  The  wares  were  heavy  and  durable,  there¬ 
fore  it  is  reasonable  to  suppose  that  genuine  pieces  have 
survived  to  the  present  day. 

The  paste  is  of  two  sorts — a  light-coloured,  hard,  compact 
paste  called  tzu  t’ai,  and  a  dark,  sandy  paste  called  sha  t’ ai. 
Genuine  pieces  of  the  former  will  be  found  chiefly  in  the  shape 
of  flower  pots  and  bowls;  of  the  latter,  in  vases,  various  small 
objects  for  the  study,  etc. 

The  quality  of  the  glaze  can  be  learned  by  experience  only, 
not  by  description.  Perhaps  the  word  which  best  describes 
it  is  “opalescent.” 

Red  is  the  colour  most  highly  prized.  Aubergine- purple 
ranks  second.  Pieces  in  which  either  of  these  colours  prevails 
are  very  highly  prized.  Even  slight  flecks  or  streaks  of  the 
red  give  a  piece  value. 

The  “earth-worm  tracks”  are  found  on  all  the  best  pieces. 

Chiin  ware  is  usually  not  crackled.  If  crackle  does  exist, 
it  is  incidental,  and,  if  I  understand  Mr.  Chun’s  theory,  not 

[  122  ] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

due  to  the  cracking  of  the  paste  in  cooling,  but  to  age  and 
contact  with  water. 

All  really  good  specimens  have  the  incised  numeral  under¬ 
neath.  It  is,  of  course,  understood  that  the  numeral  in  itself 
proves  nothing. 

Hobson,  in  his  preface  to  the  Catalogue  of  the  Burlington 
Fine  Arts  Exhibition,  speaks  of  a  reddish-brown  dressing 
which  appears  on  the  bottom  of  some  of  the  pieces  classified 
in  that  collection  as  Sung  Chun.  He  remarks  that  but  for 
the  trustworthy  evidence  of  Chinese  connoisseurs  to  the 
contrary,  this  dressing  would  lead  him  to  consider  the  articles 
Yung  Cheng  imitations.  My  experience  has  been  the  same. 
Some  of  the  best  pieces  that  I  have  seen  have  this  dressing, 
yet  they  are  owned  by  men  who  have  spent  a  lifetime  and 
practically  unlimited  funds  in  making  their  collections.  If 
they  have  been  deceived,  how  shall  we  escape!  But  personally 
I  should  prefer  a  bottom  with  glaze  of  variegated  colouring 
like  that  described  by  Mr.  Chun.  I  have  seen  no  statement 
in  literature  as  to  how  the  old  Chiin  potters  finished  the 
bottoms  of  their  pieces. 

The  market  is  flooded  with  imitations  in  response  to  the 
present-day  popular  demand.  I  make  this  statement  on  the 
authority  of  William  Burton,  F.C.S.  (“Porcelain:  a  Sketch 
of  its  Nature,  Art,  and  Manufacture”).  In  his  opinion,  some 
of  the  later  imitations,  Chinese  and  Japanese,  can  hardly  be 
distinguished  from  the  originals. 

Nevertheless,  it  is  not  the  art  shops  of  Peking  or  Shanghai 
that  are  so  flooded,  for  the  casual  customer  rarely  sees  a  piece 
that  even  claims  to  be  Sung  Chiin.  When  such  a  piece  is  in 
the  possession  of  a  dealer,  it  is  produced  only  when  asked  for, 
and  is  usually  brought  forth  from  some  back  room  or  upper 
chamber,  where  it  has  been  hidden. 

Prices  are  high  and  mounting.  The  value  of  a  flower  pot 
or  bulb  bowl  of  good  colour  and  marking  runs  into  thousands. 
These  values,  now  established,  are  not  likely  to  decrease, 
unless  absolutely  successful  imitations  are  made  in  large 
numbers. 

1  123  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


THE  CHIEN 

Chinese  writers  do  not  class  this  ware  among  the  important 
products  of  the  Sung  dynasty.  As  it  was  not  imitated  at  the 
Ching-te-chen  kilns,  the  T’ao  Lu  discusses  it  only  in  the 
chapter  on  “Ancient  Wares,”  and  gives  a  brief  description 
which  appears  to  be  quoted  from  the  Ko  Ku  Yao  Lun.  The 
T’ao  Shuo,  however,  devotes  some  space  to  an  account  of  the 
vogue  which  this  ware  enjoyed  among  the  tea  clubs  of  ancient 
times.  Chinese  connoisseurs  of  the  present  day  know  very 
little  about  it,  but  the  Japanese  appear  to  be  full  of  enthusiasm 
on  the  subject. 

This  ware  was  made  during  the  Sung  dynasty,  in  what  is 
now  the  district  of  Chien-yang,  Chien-ning  prefecture, 
province  of  Fukien.  The  city  was  at  that  time  called  Chien- 
chou.  According  to  the  T’ao  Lu,  the  kilns  continued  to 
flourish  during  the  Yuan  dynasty. 

The  Ko  Ku  Yao  Lun  says  that  the  pieces  were,  as  a  rule, 
quite  heavy.  Such  lighter  pieces  as  were  produced  were 
worthy  to  rank  with  other  good  Sung  productions.  The  heavy 
cups  were  much  sought  after  by  the  tea-drinkers,  however, 
as  they  had  the  quality  of  retaining  heat.  The  Ts’ai  Hsiang 
Ch’a  Lu  says  that  in  this  respect  the  Chien  bowls  excelled 
the  products  of  all  other  districts,  and  that  the  celadons  and 
the  white  wares  were  never  used  in  the  “tea  contests.” 

The  famous  glaze  of  the  Chien  must  not  be  conceived  as  a 
black  monochrome.  It  was  a  background  of  black  with  blue 
and  purple  iridescences  and  shot  through  with  lines  of  golden 
brown.  It  is  these  lines  which  are  compared  to  “hare’s  fur,” 
and  which  may  be  regarded  as  one  of  the  chief  distinguishing 
marks  of  the  Chien  ware.  The  Ko  Ku  Yao  Lun  also  mentions 
“pearl  drops”  which  appear  on  the  Chien  bowls.  It  is  not 
clear  whether  these  are  yellow  marks  which  appear  in  round, 
pearl-like  spots  instead  of  lines,  or  whether  they  are  patches 
similar  to  the  “tear-drops”  of  the  Ting. 

A  book  called  the  Ch’ing  I  Lu  calls  the  lines  on  the  Chien 

[  124] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

ware  “partridge  markings.”  This  appears  to  refer  to  a 
dappled  rather  than  streaked  appearance. 

In  the  specifications  submitted  to  me  mention  was  made 
of  certain  decorative  designs  in  the  Chien  ware,  such  as  “birds 
in  reserve,”  which  were  sometimes  left  in  the  bare  paste,  and 
also  “designs  of  night  and  day,”  “running  water  effects,” 

still  pools,”  and  other  interesting  suggestive  designs,  such 
as  “rabbit’s  fur.”  It  is  quite  possible  that  designs  in  reserve 
were  sometimes  left  in  the  Chien  cups,  as  was  occasionally 
done  in  the  Lung-ch’iian  ware,  but  I  have  seen  no  mention 
of  such  a  practice  in  either  European  or  Chinese  literature. 
Brinkley  says  that  sometimes,  in  specimens  of  later  date, 
the  decoration  takes  the  form  of  conventional  phoenixes, 
butterflies,  maple  leaves,  etc.,  “in  golden  brown  of  the  most 
satisfying  richness  and  beauty.”  I  find  in  Chinese  literature 
no  evidence  that  there  was  ever  any  intentional  designing  on 
the  old  Fukien  tea  bowls.  A  Japanese  lady,  in  explaining  to 
me  the  peculiar  esteem  in  which  these  bowls  have  always  been 
held  by  the  people  of  her  country,  said  that  they  were  able 
to  see  in  them  “all  sorts  of  scenery,”  but  she  did  not  mean 
that  scenic  effects  had  been  definitely  traced  and  inten¬ 
tionally  produced. 

The  vogue  enjoyed  by  the  Chien  wares  among  tea-drinkers 
was  in  part  due  to  the  thickness  of  the  material,  but  this  was 
a  quality  which  might  be  easily  attained  at  any  kiln.  The 
colour  of  the  glaze  was  a  far  more  important  factor  in  its 
popularity.  Tea-drinking  in  ancient  times  was  a  cult — a 
ceremonial  observance — with  which  the  cultured  taste  of  the 
day  wished  to  associate  all  pleasure  possible.  The  blending 
of  the  Chien  yao  glazes  with  the  colours  of  the  tea  was  con¬ 
sidered  to  give  the  most  pleasing  nuance  of  colour  that  the 
potter’s  art  had  achieved.  This  glaze  was  also  considered 
to  have  the  power  of  preventing,  or  rather  retarding,  the  pro¬ 
cess  of  evaporation,  and  for  this  reason  the  wares  were  some¬ 
times  called  “the  slow-drying  cups.”  To  understand  the 
Chinese  appreciation  of  this  quality  one  must  know  that  the 

[  125  1 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


“tea  contest”  was  merely  a  process  of  matching  cups  owned 
by  different  individuals  to  determine  whose  cup  would  retain 
moisture  longest.  He  whose  cup  was  able  to  show  a  trace  of 
moisture  after  the  others  were  entirely  dry  was  the  winner 
of  the  tournament.  This  appears  to  have  been  as  exciting 
to  the  old-time  Chinese  as  is  the  Derby  to  a  modern  English¬ 
man.  The  T’ao  Shuo  calls  attention  to  the  fact  that  the  sharp 
contrast  of  colour  between  the  tea  and  the  black  glaze  facil¬ 
itated  the  task  of  the  umpire. 

I  am  not  prepared  to  give  the  history  of  the  Chien  tea  bowl 
in  Japan.  It  appears  to  have  been  much  more  appreciated 
there  than  in  China,  as  its  very  crudeness  made  it  appropriate 
to  the  tea  ceremonial,  a  very  different  process  from  the  Chinese 
tea  contest.  It  appears  that  a  large  portion  of  the  Chien 
output  found  its  way  to  Japan,  and  also  that  reproductions 
and  modifications  of  the  ware  have  been  produced  in  great 
quantities,  both  in  Japan  and  Corea. 

Various  small  articles  other  than  tea  bowls  were  doubtless 
produced  at  the  Chien  kilns;  but,  considered  as  a  keramic 
product  simply,  the  ware  was  very  lightly  esteemed  and  few 
such  articles  have  been  preserved. 

VARIETIES  AND  IMITATIONS 

The  T’ao  Shuo,  in  its  discussion  of  the  Chien  wares,  quotes 
one  authority  to  the  effect  that  the  black  “hare’s-fur”  cups 
for  the  tea  contests  were  first  made  at  Ting-chou.  We  have 
seen  elsewhere  that  the  Ting-chou  kilns  did  produce  a  black 
ware. 

The  wu-ni  yao,  or  “raven-clay  ware,”  appears  to  have  been 
an  inferior,  and,  judging  by  the  arrangement  of  the  T’ao  Lu, 
an  earlier  product  of  the  same  factories.  As  the  name  shows, 
the  clay  was  very  dark.  It  was  sometimes  given  a  celadon 
glaze,  and  the  P’ing  Hua  P’u  compares  it  favourably  with 
the  Lung-ch’iian  products,  whereas  other  authorities  dismiss 
it  as  unworthy  of  discussion. 

[  126  ] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

EXAMPLES  OF  THE  CHIEN  WARE 

I  have  not  been  able  to  find  any  cups  classified  as  Chien  in 
Peking  shops  or  private  collections.  The  collection  of  Mr. 
Ch  mg  K  uan  contains  a  wide-mouthed  bowl  with  dark  brown 
glaze,  dappled  with  lighter  brown,  which  might  be  considered 
as  corresponding  to  the  descriptions  given.  The  owner  be¬ 
lieves  it  to  be  a  Sung,  but  says  that  it  is  not  from  the  Chien 
kilns.  It  may  be  a  Ting-chou  product. 

In  the  Burlington  Fine  Arts  Exhibition  of  1910  were  shown 
two  Chien  bowls  classified  as  Sung  or  Yiian.  They  were  the 
property  of  Mr.  W.  A.  Alexander.  They  are  of  dark  brown 
stoneware  with  thick,  purplish  black  glaze  shot  with  golden 
brown.  The  rims  are  protected  (or  concealed)  with  metal 
bands. 

A  small  vase  in  the  same  exhibition  was  classed  as  probably 
Chien.  It  was  described  as  follows:  “Vase  of  oval  form  with 
straight  neck,  wide  mouth,  and  two  loop  handles;  pale  buff 
stoneware,  thin  brown  glaze  inside;  in  neck  and  on  outside 
thick  glaze  of  purplish  black  streaked  and  mottled  with  golden 
brown,1  stopping  in  an  uneven  line  short  of  the  base.  Height, 
four  and  three-fourths  inches.  Property  of  R.  H.  Benson.” 

We  are  told  that  numerous  excellent  specimens  of  this 
ware  are  to  be  found  in  Japan,  and  it  had  best  be  studied  from 
that  standpoint.  It  will  be  necessary,  however,  to  discrimi¬ 
nate  carefully  between  real  Sung  Chien  and  similar  Japanese 
and  Corean  pieces. 

MINOR  KILNS  OF  THE  SUNG 

THE  TZ’U-CHOU  KILNS 

These  have  already  been  mentioned  in  connection  with 
Ting  wares.  Tz’u-chou  anciently  formed  part  of  Chang-te 
Fu  in  Honan,  but  is  now  under  the  jurisdiction  of  Kuang- 

1  The  dappled  appearance  of  the  golden  brown  in  the  illustration  might  suggest 
“partridge  feathers”  or  “pearls.” 


[  12  7  1 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


p’ing  in  Chihli.  It  is  to  the  south  of  Ting-chou.  The  T’ao  Lu 
tells  us  that  the  wares  made  there  were  as  fine  as  Ting,  but 
never  had  the  tear-marks.  There  were  both  incised  and 
painted  styles  of  decoration.  The  latter  was  usually  in 
brown,  and  there  are  many  extant  specimens  of  the  heavy 
t’u  Ting  type  bearing  this  brown  decoration.  Many  fine 
pieces  from  the  collection  of  Mr.  G.  Eumorfopoulus  were 
shown  in  the  Burlington  Fine  Arts  Exhibition  of  1910.  Prom¬ 
inent  among  these  are  figures  of  Shou  Lao,  and  other  images. 

We  have  seen  that  brown  decoration  was  sometimes  used 
on  the  Ting,  but  it  was  so  much  more  common  in  the  Tz’u- 
chou  ware  that  this  is  by  far  the  safer  classification  for  such  a 
piece.  The  distinction  is  unimportant,  for  the  wares  were 
so  alike  that  Chinese  authorities  admit  the  impossibility  of 
distinguishing  them. 

Sometimes  the  entire  piece  was  glazed  and  painted  brown 
and  then  a  portion  etched  away,  leaving  the  design  showing 
in  the  bare  paste.  Examples  of  this  sort  are  not  uncommon 
in  the  shops.  They  occur  most  frequently  in  the  form  of  large 
jars. 

The  Tz’u-chou  kilns  have  never  ceased  to  operate.  They 
are  still  turning  out  a  cheap  ware,  commonly  used  in  Peking 
for  domestic  purposes  and  quite  similar  in  style  and  decoration 
to  the  highly  prized  wares  of  ancient  times. 

THE  TUNG  KILNS 

These  were  private  kilns  which  operated  near  K’ai-feng  Fu 
when  that  city  was  the  capital  of  the  Northern  Sung.  They 
produced  a  celadon  somewhat  similar  to  that  of  the  imperial 
kilns,  but  of  inferior  quality.  They  showed  the  “red  mouth 
and  iron  foot”  so  much  prized  by  connoisseurs,  and  had  no 
crackle.  The  uninitiated  might  find  some  difficulty  in  distin¬ 
guishing  them  from  the  uncrackled  Lung-ch’iian  celadons. 

The  Chinese  ideograph  for  Tung  originally  applied  to  these 
wares  was  that  meaning  “east.”  Owing  to  identity  of  sound, 
it  has  in  the  course  of  time  become  altered  to  the  ideograph 

[  128  ] 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

which  means  “winter,”  so  that  the  term  may  now  be  rendered 
“winter-green.”  Under  this  latter  term  a  number  of  speci¬ 
mens  are  catalogued  in  the  T’ao  Shuo. 

THE  TENG  KILNS 

These  were  at  Teng-chou  in  Nan-yang  prefecture,  province 
of  Honan.  They  produced  a  ware  somewhat  resembling  the  Ju. 

THE  YAO  KILNS 

Yao-chou  was  under  the  prefecture  of  Hsi-an  in  Shensi. 
These  kilns  produced  a  ware  resembling  the  Ju,  but  inferior, 
and  also  a  white  ware. 

THE  YU-HANG  KILNS 

These  were  at  Yii-hang  hsien,  Hang-chou  prefecture,  province 
of  Chehkiang.  The  colour  of  the  ware  was  like  that  of  the 
Kuan,  but  it  lacked  gloss.  It  was  uncrackled. 

THE  LI-SHUI  KILNS 

At  Li-shui  hsien,  Ch’u-chou  prefecture,  province  of  Cheh¬ 
kiang.  Their  product  was  an  inferior  celadon  somewhat 
resembling  the  Lung-ch’iian. 

THE  HSIAO  KILNS 

These  were  at  Hsiao  hsien,  Hsii-chou  prefecture,  province  of 
Kiangsu.  Here  also  was  the  “Village  of  White  Clay,”  and 
the  kilns  were  sometimes  called  the  “White  Clay  Kilns.”  The 
product  was  a  rather  fine  white  ware. 

THE  CHI-CHOU  KILNS 

These  were  the  somewhat  noted  kilns  of  what  is  now  Chi-an 
Fu  in  the  province  of  Kiangsi.  There  are  said  to  have  been 
five  different  manufactories  there,  of  which  those  of  a  Mr.  Shu 

[  129  ] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 

and  his  daughter  Shu  Chiao  were  the  best  known.  They  made 
white  and  purple  wares,  the  latter  resembling  the  purple  Ting. 

An  interesting  tradition  connected  with  these  kilns  is  that 
on  one  occasion  a  certain  high  official  paid  them  a  visit,  where¬ 
upon,  presumably  in  his  honour,  a  batch  of  vessels  then  in 
the  oven  were  suddenly  transformed  into  jade.  One  would 
suppose  that  this  might  have  been  regarded  as  an  excellent 
omen;  but,  on  the  contrary,  we  are  told  that  the  potters  were 
so  frightened  that  they  closed  their  kilns  and  ran  away  to 
Jao-chou  to  take  up  work  there  in  the  Ching-t  e-chen  factories. 
This  story  is  supposed  to  have  had  its  origin  in  some  unusual 
and  unexpected  transmutation  effects. 

THE  HSIANG  KILNS 

The  location  of  these  is  not  known  with  certainty,  but  they 
are  said  to  have  been  in  Hsiang-shan  hsien,  in  Ningpo  pre¬ 
fecture.  They  operated  under  the  Southern  Sung  and  pro¬ 
duced  a  white  ware  with  crab’s-claw  crackle,  the  finer  pieces 
of  which  were  compared  with  Ting. 

THE  YU-Tz’lJ  KILNS 

These  were  at  Yii-tz’u  hsien,  Tai-yiian  Fu,  province  of 
Shansi.  They  continued  a  manufacture  which  had  been  begun 
under  the  T’ang  dynasty,  and  produced  a  coarse,  heavy  ware. 

THE  P’lNG-YANG  KILNS 

These  were  also  in  Shansi  and  continued  a  work  begun  under 
the  T’ang.  These  two  Shansi  kilns  are  of  no  interest  except 
for  the  primitive  character  of  their  work.  It  being  very  heavy 
and  durable,  specimens  doubtless  exist  to  the  present  day. 

THE  SU-CHOU  KILNS 

Located  at  what  is  now  Feng-yang  Fu,  they  made  an  imita¬ 
tion  of  the  Ting  which  was  quite  widely  disseminated. 


1  130  1 


KERAMIC  WARES  OF  THE  SUNG  DYNASTY 

THE  SZE-CHOU  KILNS 

These  were  in  the  province  of  Anhui.  The  ware  was  also  in 
imitation  of  the  Ting. 


Note.  With  so  many  kilns  turning  out  white  wares  of  the  Ting  type  and 
celadons  of  varying  shades,  all  heavy  and  durable  in  character,  one  cannot  help 
suspecting  that  many  extant  specimens  classed  as  Ting,  Kuan,  Ju,  etc.,  if  really 
dating  from  the  Sung,  are  products  of  the  minor  kilns.  Particularly  is  this  true 
of  the  many  pieces  which  lack  the  finish  and  the  beauty  which  a  study  of  the 
literature  of  the  famous  kilns  has  led  us  to  anticipate. 


1  131  1 


WARES  OF  THE  YUAN  DYNASTY 

UNDER  the  Yuan  rulers  there  was  no  sudden  change 
in  the  keramic  art,  but  the  product  gradually 
deteriorated  owing  to  lack  of  imperial  patronage. 
It  is,  of  course,  often  impossible  now  to  determine  with  cer¬ 
tainty  to  which  period  many  pieces  belong,  and  the  classifi¬ 
cation  “Sung  or  Yuan”  is  often  the  only  safe  one  to  adopt. 
Native  connoisseurs  seem  to  be  guided  chiefly  by  the  quality 
of  the  glaze  in  deciding  the  question,  and  in  many  cases 
admit  their  inability  to  decide. 

White  wares  of  the  Ting  type  continued  to  be  made,  the 
nearest  approach  to  the  excellence  of  the  genuine  northern 
Ting  probably  being  the  work  of  P’eng  Chiin-pao  of  Ho-chou. 
The  Ching-te-chen  kilns  turned  out  white  wares  and  celadons, 
and  it  is  said  that  the  pieces  destined  for  the  court  were  marked 
with  the  characters  “Shu  Fu.”  We  have  seen  that  the  Lung- 
ch’tian  kilns  were  still  active,  but  their  work  was  of  inferior 
quality. 

But  though  white  wares  and  celadons  were  made  under  the 
Yuan  dynasty,  the  term  Yuan  tzu  as  used  by  the  Chinese 
to-day  almost  invariably  means  the  somewhat  degenerate 
output  of  the  Chun  kilns,  shards  of  which  are  shown  in  our 
exhibition.  Along  with  the  superior  Sung  Chun,  this  ware  is 
enjoying  a  great  vogue  among  collectors  to-day.  Many 
broken  pieces  may  be  seen  in  the  Peking  shops,  and  they  are 
frequently  ground  into  various  shapes  for  belt  buckles  and 

1  132  ] 


WARES  OF  THE  YUAN  DYNASTY 

other  ornaments.  Pieces  in  good  condition  are  also  not 
uncommon,  and  those  showing  good  colouring  command  a 
high  price.  The  colouring  is  similar  to  that  of  the  Chun,  but, 
as  elsewhere  noted,  the  transmutation  tints  are  more  likely 
to  appear  in  bold  splashes  of  colour,  rather  than  in  streaked 
and  dappled  effects.  Crackle  is  far  more  common,  and  the 
paste  is  not  so  good  as  in  the  best  quality  of  Chun.  However, 
the  Chinese,  in  deciding,  seem  to  be  guided  chiefly  by  the 
quality  of  the  glaze.  A  crackled  piece  with  bold  spots  of 
colouring,  which  I  should  have  unhesitatingly  pronounced 
Yuan,  was  classed  by  its  owner  as  Sung  Chiin  owing  to  the 
rich,  opalescent  character  of  the  glaze,  which  he  said  never 
was  achieved  during  the  Yuan  period. 

Fine  bowls  and  plates  of  this  ware  may  be  seen  in  Peking, 
both  in  shops  and  private  collections.  In  the  collection  of 
Mr.  Ch’ing  K’uan,  for  example,  may  be  seen  a  magnificent 
tripod  censer  over  a  foot  high,  with  cover.  The  upper  rim, 
having  sustained  injury,  has  been  ground  down  and  finished 
with  a  band  of  copper,  and  ornaments  in  the  shape  of  deer’s 
heads  have  been  added.  Another  similar  censer,  somewhat 
smaller,  has  rim  and  ears  intact,  and  is  ornamented  with  a 
dragon  in  relief.  Both  show  splendid  colouring.  Mr.  Ch’ing 
K’uan  also  has  eight  small  bowls  showing  good  spots  of  colour, 
and  so  well  matched  that  one  feels  almost  inclined  to  question 
their  antiquity.  Among  various  other  articles,  he  called  my 
attention  to  a  gourd-shaped  vase,  the  top  ending  in  seven 
tubes,  each  with  separate  opening  to  contain  a  single  flower, 
and  finished  at  the  neck  with  a  decoration  simulating  a  knotted 
ribbon.  To  him  the  peculiar  excellence  of  this  piece  lies  in  a 
single  tricoloured  spot  which  shows  red,  purple,  and  a  greenish 
turquoise  in  concentric  circles — a  most  interesting  trick  of 
the  furnace. 

Rose  Sickler  Williams. 


[  i33  1 


GLOSSARY  OF  CHINESE 
TERMS 


GLOSSARY  OF  CHINESE  TERMS 


Y ao  {%).  This  ideograph  is  derived  from  the  radical  hsiieh  (K), 
meaning  a  cave  or  pit,  and  the  phonetic  kao  (jtf,  ).  A  kiln;  the 
product  of  a  kiln;  pottery  in  its  widest  sense. 

Yao  chiang  (  ).  A  potter. 

Y ao  kung  (  ).  Potter’s  work. 

I  ao  (  )•  Another  form  of  the  foregoing,  derived  from  the  radical 

cave  and  yao  (-&  ),  a  jar.  The  first  form  is  the  more  correct. 

Tao  (m  ):  from  the  radical  fu,  a  mound,  and  the  phonetic  t’ao  (  $  ), 
which  latter  is  also  used  without  the  radical  and  having  the  same 
meaning.  A  kiln. 

T’ao  jen.  A  potter. 

Tao  ch’i.  Pottery. 

(Though  yao  and  t’ao  may  be  alike  defined  “kiln,”  the  usage  is  not 
the  same.  T’ao  is  never  used  to  designate  the  wares  emanating 
from  the  kilns  unless  it  has  the  word  ch’i,  “wares,”  following  it.) 

Ting  yao  (  ).  Wares  of  Ting-chou;  subsequent  wares  of  the  Ting 

type. 

Pei  Ting  Northern  Ting. 

Pai  Ting  (  fc  ^  ).  White  Ting. 

Nan  Ting  (  M  K  ).  Southern  Ting. 

Fen  Ting  ( Mr-lL  ).  Said  by  the  T’ao  Lu  to  be  applied  to  the  same  ware 
as  the  term  pai  Ting. 

T’u  Ting  (  ).  Literally,  “earth  Ting”:  a  coarse,  crackled  Ting. 

Ju  yao  (  ).  Wares  of  Ju-chou. 

Kuan  yao  ( t  %.  ).  Imperial  ware;  modern  application,  the  wares  made 
for  imperial  use  at  the  Ching-te-chen  kilns. 

Sung  Kuan  yao  {%.%%).  Imperial  ware  of  the  Sung:  specifically 
applied  to  the  product  of  the  kilns  which  were  located  at  the  capital, 
but  not  restricted  to  these  in  colloquial  use. 

[137] 


EARLY  CHINESE  POTTERY  AND  SCULPTURE 


Ko  yao  (■%%.).  Literally,  “elder-brother”  ware;  the  ware  made  at 
Lung-ch’uan  by  the  elder  Chang:  commonly  applied  to  other  wares 
having  the  fine  fish-roe  crackle  of  the  Sung  Ko. 

Lung-ch’uan  yao  (-fjL&S;)-  Wares  made  at  Lung-ch’uan. 

Chang  Lung-ch’uan  ( ).  The  wares  made  by  the  younger  Chang. 

Chun  yao  {*§%).  The  wares  made  at  Chiin-t’ai,  now  Yii-chou. 

Chien  yao  (  ).  Wares  of  Fukien  province:  modernly  applied  to 

the  ivory-white,  or  blanc-de-Chine. 

Sung  Chien  yao  (  1L^_%  ).  The  black  or  dark-coloured  ware  made  in 
Fukien  under  the  Sung. 

Ch’ai  yao  (*!££).  A  ware  made  at  Cheng-chou  previous  to  the  Sung. 
Largely  traditional :  supplied  the  type  for  the  Honan  wares  of  the  Sung. 

Pise  yao  (  ■&■'£.%>  )•  “Secret  colour”  ware;  a  ware  of  a  colour  reserved 
for  imperial  use. 

Sui-ch’i  yao  Crackled  ware:  specifically  applied  to  a  ware 

made  at  Chi-chou  which  had  a  colouring  pigment  rubbed  into  the 
crackle. 

Wa  (-£-).  A  brick;  a  tile:  commonly  used  to  distinguish  earthenware 
from  stoneware  and  porcelain. 

Han  wa  ).  Earthenware  of  the  Han  period:  commonly  used  to 

designate  Han  tiles  and  all  recent  finds  of  mortuary  pottery  which 
do  not  rise  to  the  rank  of  stoneware. 

Tz’  u  (  ) :  from  the  radical  wa  {%_)  and  the  phonetic  tz’u  (  J'K. ).  Defined 

in  the  Shuo  Wen,  the  oldest  Chinese  dictionary,  as  “wa  ch’i,”  or  “earth¬ 
enware.”  Defined  in  the  Lei  Pien,  a  dictionary  of  the  Sung  period,  as 
“the  harder  and  finer  product  of  the  kilns.”  Commonly  applied  now 
to  stoneware  and  porcelain. 

Tz’u  (  25k):  from  the  radical  shih  (  2  ),  a  stone,  and  the  phonetic 
tz’u  (  2k  )•  Sometimes  incorrectly  used  for  the  foregoing.  Defined 
in  the  Shuo  Wen  as  “a  stone  that  attracts  iron”;  a  loadstone.  Also 
the  name  of  the  Chou  city  in  south  Chihli  where  wares  were  produced 
similar  to  the  Ting  type.  From  the  fact  that  this  city  produced  such 
wares,  and  that  the  sound  is  identical  with  that  of  the  word  meaning 
“stoneware  or  porcelain,”  a  certain  confusion  in  the  use  of  the  word 
has  arisen.  But  there  is  no  such  confusion  in  the  mind  of  the  Chinese 
scholar.  The  purist  never  uses  it;  and  all  arguments  as  to  the  date 
of  the  origin  of  porcelain  which  have  been  based  on  the  use  of  this  word 
are  valueless. 

T’ai  ( A a.  ).  Literally,  “the  womb”;  a  framework;  as  applied  to  por¬ 
celain,  the  body  or  paste. 

Sha  t’ai  (yp-rla  ).  A  sandy  paste. 

Tz’u  t’ai  (tjt.fia.  ).  A  stoneware  or  porcelain  paste. 

[138] 


GLOSSARY 

Vo  t’  ai  ( ).  Wares  from  which  the  body  has  been  removed;  egg¬ 
shell  wares.  The  Chinese  also  speak  of  “semi  t’o  t’ai.”  I  should  regard 
the  introduction  of  these  terms  as  marking  the  date  of  the  advent  of 
true  porcelain  in  the  sense  of  a  translucent  ware. 

Yu  The  glaze.  The  T’ao  Lu  calls  attention  to  the  fact  that  this 

character  is  frequently  written  in  various  incorrect  forms. 

Wen  (  ).  Lines  or  markings. 

Sui  wen  (  ).  Crackle. 

Yii-tz’u  wen  (  Fish-roe  crackle. 

Hsieh-chua  wen  (  ).  Crab’s-claw  crackle. 

Ch’iu-ying  wen  (  ).  Earth-worm  tracks:  the  characteristic  mark¬ 

ings  of  the  best  Chiin.  (This  is  a  common  colloquial  term  not  found 
in  literature.) 

T’u-ssu  wen  (  Dodder  markings  (?). 

Huang-t’u  pan  (-&%.£&).  Hare’s-fur  markings:  applied  to  the  black 
Chien. 

Kao-lin  (  J)H).  Literally,  “a  high  range”:  applied  to  the  hills  near 
Ching-te-chen  from  which  the  clay  so  called  was  first  derived. 

Pe-tun  tzu  “White  briquettes”;  the  porcelain  stone  after 

having  been  pulverized  and  shaped  into  bricks. 

Ch’ing  (  -f ).  Green,  blue,  black,  or  grey.  (See  note  to  translation.) 

Yu  ko  t’ien  ch’ing  (  ).  “Blue  of  the  sky  after  rain”:  colour  of  the 

traditional  Ch’ai.  Said  by  modern  connoisseurs  to  be  a  delicate 
grey-blue. 

Fen  ch’ing  (  ).  A  pale  ch’ing. 

Mei-tz’u  ch’ing  (  ).  Plum-green. 

T’ien-lan  (^.gjj.  ).  Sky-blue. 

Yiieh-pai  (  $  £  ).  Moon-white. 

Chu-hung  (  ).  Vermilion  red. 

Chu-sha  hung  (  ).  Cinnabar  red. 

Mei-kuei  hung  (  335.  jM.  ).  Rose-red. 

Mei-kuei  tzu  (  Sn.  ig; ) .  A  purplish  red. 

Ch’ieh-p’i  tzu  (  jig.#  ).  Aubergine,  or  “egg-plant”  purple. 

The  above  are  appended  in  the  belief  that  they  may  be  of  interest, 
particularly  to  the  student  who  has  some  knowledge  of  the  Chinese 
characters. 


[  139  ] 


ILLUSTRATIONS 


The  comparative  sizes  of  the  illustrations  do 
not  correspond  with  the  comparative  sizes  of 
the  objects  themselves.  In  each  case  the 
dimensions  will  be  found  under  the  descrip¬ 
tion  in  the  catalogue. 


I 


2 


3 


'  > 


6 


7 


8 


9 


12 


17 


21 


23 


26 


27 


>: 


V* 


29 


3i 


32 


33 


36  and  37 


34 


35 


39 


41 


43 


47 


44 


46 


48 


5i 


49 


52 


54 


} 


53 


58 


59 


6o 


61 


62 


63  and  64 


66 


67 


68 


69 


70 


«MMnn| 


m 


85 


84 


8o 


86 


87 


88 


8g 


go 


I 


91 


92 


93 


97 


95 


98 


T 


IOI 


102 


103 


104 


105 


107 


io8 


. 


Ill 


119 


« 


no 


t 


1 13  and  1 14 


r 


1 15  and  1 16 


t 


122 


125 


124 


127 


130 


I3I 


132 


I 


I 


V 


147 


148 


149 


' 


152 


154 


158 


1 66 


167 


1 7 1 


174  and  175 


176  and  177 


i83 


M  ><& 


195 


196 


202 


204 


206 


207 


214 


215 


212  and  213 


219 


22  I 


220 


222 


223 


224 


225 


227 


229 


230 


2.31 


~33 


235 


241 


244 


240 


251 


255 


254 


256 


259 


26o 


270  and  271 


274 


279 


273 


275 


276  and  277 


28i 


282 


284 


286 


289 


292 


fl 


297 


2  g8 


299 


304 


305 


306  and  307 


£»V 


314 


< 

C 


4iuji 


322 


323 


324 


325 


329 


33i 


333 


334 


334 


338 


339 


343 


OF  THIS  CATALOGUE 

SEVEN  HUNDRED  AND  FIFTY  COPIES  HAVE  BEEN 
PRINTED  ON  MACHINE  MADE  PAPER 
AND  ONE  HUNDRED  ON  ARCHES 
HANDMADE  PAPER 
MARCH,  1916 

A  SECOND  EDITION  OF  ONE  THOUSAND  COPIES 
PRINTED  ON  MACHINE  MADE  PAPER 
MARCH,  1916 


